《傻瓜唱歌》,第三版
Singing For Dummies®, 3rd edition
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ISBN: 978-1-119-84296-5 (平装)
ISBN: 978-1-119-84296-5 (pbk)
ISBN:978-1-119-84341-2(ebk); ISBN:978-1-119-84316-0(电子书)
ISBN: 978-1-119-84341-2 (ebk); ISBN: 978-1-119-84316-0 (ebk)
很高兴你选择了这本书!无论你是淋浴歌手,还是渴望登上舞台,这本书都适合你。本书内容丰富,涵盖了唱歌的各个方面,从姿势、呼吸到嗓音健康,再到提升音域的技巧,应有尽有。无需任何经验!即使你对唱歌一无所知,也能在探索自己歌喉的过程中享受一段美好的时光。
I’m so happy you chose this book! Whether you’re a shower singer or you secretly desire to sing on a stage, this book is for you. The book is full of helpful information covering all aspects of singing, from posture and breathing to vocal health and techniques for increasing your range. Absolutely no experience is necessary! Even if you know zero about singing, you’re going to have a great time exploring your singing voice.
你的歌喉不可能一夜之间就练就,这需要时间。有些人天生嗓音就能在好莱坞露天剧场大放异彩,但大多数喜欢唱歌的人都需要刻意练习,才能为首次演出做好准备。无论你属于哪一类,这本书都能为你提供一些宝贵的信息。
You can’t develop your singing voice overnight; it takes time. Some people are born with a voice ready to sing at the Hollywood Bowl, but most people who like to sing have to work on their voice to prepare it for the first performance. Whichever category you fit into, this book has some valuable information for you.
练习歌唱嗓音是提升演唱技巧的关键。书中的练习与你在声乐课或歌唱课程中可能遇到的练习类似。通过练习,你的身体有机会准确地理解如何发出声音。掌握了技术细节后,你可以将这些信息运用到你的歌曲中,让歌声更加动听。
Exercising the singing voice is the ticket to improving your technique. The exercises in the book are similar to what you may encounter in a voice lesson or a class about singing. By working on exercises, you give your body a chance to figure out exactly how to make the sounds. After you get the technical details cooking, you can apply that information to your songs and sound even better.
练习时可能没有人听你说话,但你可以在整本书中找到关于如何倾听自己的声音并进行自我批评的建议,以便每次练习时都能有所进步。
You may not have someone there listening to you as you practice, but you find suggestions throughout the book on how to listen to your voice and critique it for yourself so that you can improve every time you practice.
《歌唱入门》(第三版)旨在作为参考指南,而非教程,其中包含一些练习,旨在帮助您提升歌唱水平。您可以翻阅并找出您感兴趣的部分。(此外,我建议您也仔细阅读那些您不感兴趣的部分——谁知道您会发现哪些关于您嗓音的秘密呢?)重要的是要记住,您无需从头到尾通读本书来提高歌唱水平;只需找到您需要的主题,并结合练习和在线音轨,打造您最完美的嗓音。
Singing For Dummies, 3rd Edition, is designed as a reference guide, not as a tutorial, and includes exercises to help you improve your singing. Flip through and look for parts that interest you. (For that matter, I recommend that you also go through the parts that don’t interest you — who knows what you may discover about your voice?) What’s important to remember is that you don’t have to read this book from cover to cover to improve your singing; look for the topics you need and use both the exercises and the online tracks to develop your best voice.
在线曲目是您书籍的重要伙伴。您可以在 找到它们www.dummies.com/go/singingfd3e。练习运用您在书中读到的技术信息。您会听到钢琴弹奏的节奏型,歌手会为您示范,然后该节奏型会重复多次让您跟着唱。唱歌很酷,但您需要练习技巧,让您的歌曲听起来很棒。如果您进行曲目上的发音练习,然后将这些信息和技巧应用到歌曲中,您就可以唱得非常熟练,并且能让别人听懂。如果您从未上过课,一开始您可能看不到这些练习的好处,或者它们看起来很难。在练习期间不断尝试,您可能会发现这些练习能多快地帮助您唱歌。
The online tracks are an important partner to your book. You can find them at www.dummies.com/go/singingfd3e. The exercises work the technical info that you read about in the book. You hear a pattern played for you on the piano, a singer demonstrates the pattern for you, and the pattern is repeated several times for you to sing along. Just singing songs is cool, but you want to work on technique to get your songs to sound great. If you work on the articulation exercises on the tracks and then apply that information and skill to songs, you can sing with great skill and be understood. If you’ve never had lessons, you may not see the benefit of the exercises in the beginning, or they may seem difficult. Keep trying them during your practice sessions, and you may see how quickly the exercises can help you to sing.
第十章将指导你制定练习计划,将书中所学内容与在线曲目中听到的内容进行协调。规划好练习计划后,请将曲目放在手边,以便选择练习曲目。你可以在日常练习中或开车时跟着唱。只要你专心驾驶,这很棒。
Chapter 10 gives you ideas on developing a practice routine to coordinate all the information that you read in the book with what you hear on the online tracks. After you plot out your practice routine, keep the tracks handy so you can choose which tracks to practice. Sing along during your regular practice sessions or in your car as you drive. That’s cool, as long as you pay attention to your driving.
由于很多人对想象练习反应迅速,我在此提供一些运用想象练习的方法,帮助你提高歌唱水平。了解练习技巧对一些歌手很有效,而另一些人则更喜欢在唱歌时思考或想象什么。如果你想知道应该听什么,我也会提供相关信息。我还会通过一些肢体动作来解释练习方法。有时,仅仅感受身体的运动就能让你理解。无论你喜欢哪种练习方式,你都可以在本书中找到。
Because many people respond quickly to imagery, I include ways to use imagery to help you improve your singing. Knowing the mechanics works well for some singers, and others prefer knowing what to think about or visualize as they sing. If you want to know what to listen for, I give you that information as well. I also explain the exercises by having you do something physical. Sometimes just feeling the movement in your body gets the idea across. Whatever way you prefer to use, you can find it in this book.
以下是我在本书中使用的一些惯例:
Here are some conventions that I use throughout this book:
既然你正在读这本书,我假设你对唱歌感兴趣,并且想了解如何提高你的歌唱水平。你不需要任何歌唱方面的知识。你可以找到适合初学者的信息,以及适合有一定经验的歌手的高级信息。
Because you’re reading this book, I assume that you have an interest in singing and discovering how to improve your singing. You don’t need any previous knowledge about singing. You can find information for beginners, as well as advanced information for singers who have some experience.
除了印刷版或电子书中的内容外,您还可以查看一些额外的好东西并在需要时参考它们,查看备忘单www.dummies.com并搜索“Singing For Dummies Cheat Sheet”。您还可以在 找到示例曲目的音频文件http://www.dummies.com/go/singingfd3e。
In addition to what you’re reading in the print or e-book, you can check out some extra goodies and reference them when you want, check out the Cheat Sheet at www.dummies.com and search for “Singing For Dummies Cheat Sheet.” You can also find the audio files of the example tracks at http://www.dummies.com/go/singingfd3e.
如果您没有唱歌经验,您可能希望从第 1 章开始,然后按顺序学习各章。但是,本书的设计允许您从任何您想要的地方开始,并开始浏览完全可以理解的信息。如果您有一些唱歌经验,请选择您感兴趣的章节。如果您错过了一个定义,您可能需要偶尔参考其他章节,但除此之外,您可以按照自己的节奏和顺序自由浏览各章。在完成本书中的练习时,您需要随时掌握呼吸(参见第 4 章)和音色(参见第 5 章和第6章)的基本技术技能。如果您发现自己有困难,您可能希望直接跳到第 3 章以确保您有正确的唱歌姿势。
If you have no singing experience, you may want to start with Chapter 1 and work your way through the chapters in order. However, this book is designed to allow you to jump in anywhere you want and start swimming through information that’s completely understandable. If you have some singing experience, choose whatever chapter appeals to you. You may have to refer to other chapters occasionally if you missed a definition, but otherwise, you’re free to roam the chapters at your own pace and in any order. As you work through the exercises in this book, you want to have the basic technical skills of breathing (see Chapter 4) and tone (see Chapters 5 and 6) readily available. If you find yourself struggling, you may want to go straight to Chapter 3 to make sure that you have proper singing posture.
第 1 部分
Part 1
在本部分中……
IN THIS PART …
第一章
Chapter 1
本章内容
IN THIS CHAPTER
思考你的声音类型
Thinking about your voice type
从基础开始:姿势、呼吸和音色
Starting with the basics: Posture, breath, and tone
熟悉你声音的不同部分
Getting familiar with the different parts of your voice
开始运用你的发声技巧
Starting to apply your vocal technique
您对唱歌充满好奇。无论您是否有音乐背景和经验,这本书都能满足您的需求。本书包含精彩的练习和在线曲目,您可以聆听练习并跟着一起唱。如果您是初学者,欢迎加入!您可以在本书中找到各种关于唱歌的精彩信息。本章概述了您在本书中可能遇到的所有精彩内容。
So you’re curious about singing. Whatever musical background and experience you have or don’t have, this book has something to offer you. The book contains great exercises and online tracks that allow you to hear the exercise and sing along. If you’re a beginner, welcome aboard. You can find out all kinds of cool info about singing in this book. This chapter provides an overview of all the great stuff you can encounter in the book.
唱歌是最酷炫的表达方式之一。想要唱好歌,关键在于懂得如何运用各个部分来创造声音。本书的章节按恰当的顺序概述了你需要学习的内容。你不必按照书上的顺序阅读才能理解。如果你没有任何唱歌经验,后面的章节可能会有点难。唯一的方法就是直接开始阅读你感兴趣的主题。
Singing is one of the coolest means of expression out there. Singing well is about knowing how to work the parts that create the sound for singing. The chapters that you encounter in the book outline what you need to know in just the right sequence. You don’t have to read them in the order written to get what you need. Some of the later chapters may be a little difficult if you don’t have any singing experience. The only way to know is to jump right in and start reading on whatever topic interests you.
在选择你的第一场大型音乐会或独奏会的日期之前,你肯定想了解一下唱歌的知识。本书的第一部分将为你提供一些大致的了解。
Before you choose the date for your first big concert or recital, you want to find out about singing. The first part of this book provides you with the big picture.
歌手通常渴望确定自己的嗓音类型,因为他们想归类。你可能听说过歌手的分类:
Singers usually are eager to determine their voice type because they want a category to belong to. You may have heard of the categories of singers:
如果你不确定哪一种适合你的声音,请浏览第二章。你会找到关于女高音和女中音的区别,以及男高音和男低音的区别的解释。你今天不必弄清楚自己的嗓音类型,但你可以浏览本章,这样你就知道唱歌时应该注意什么了。
If you aren’t sure which one applies to your voice, explore Chapter 2. You can find explanations of what makes a soprano differ from a mezzo, or a tenor differ from a bass. You don’t have to figure out your voice type today, but you can explore the chapter so you know what to listen for as you sing.
如果你知道五线谱上音符的位置,那么理解音色类型可能就容易多了。(参见本章图 1-1。)音符的名称分别是 A、B、C、D、E、F 和 G。这些音符在钢琴上重复出现。
Voice types are probably easier to figure out if you know where to find the notes on a musical staff. (See Figure 1-1 in this chapter.) The names of the notes are A, B, C, D, E, F, and G. Those notes repeat across the piano.
如果我说一个歌手的音域是中央 C 到高音 C,我必须用附加线来标记这两个音符,因为它们不在五线谱内。附加线是在五线谱上方或下方添加的额外线,用于表示高于或低于五线谱上音符的音符。当你在图 1-1中找到中央 C 时,你可以看到五线谱下方添加的额外线。在钢琴上找到中央 C 最简单的方法是查看印在覆盖琴键的琴盖上或上方的品牌名称。如果你找到了品牌名称,那么位于名称中间或左侧的 C 通常就是中央 C。
If I say that a singer’s range is Middle C to High C, I have to use ledger lines to notate those two notes because they’re not within the five-line staff. Ledger lines are extra lines added above or below the staff for notes that are higher or lower than the notes on the staff. When you find Middle C in Figure 1-1, you can see the extra line added below the staff. The easiest way to find Middle C on the piano is to look at the brand name printed on or above the lid covering the keys. If you find that brand name, the C right in the middle of that name, or just to the left, is usually Middle C.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 1-1:在五线谱上定位音符。
FIGURE 1-1: Locating notes on the staff.
本书中还会提到降音和升音这两个词。降音表示音高降低半音,升音表示音高升高半音。升F是钢琴上F和G之间的黑键。F和G之间的同一个黑键可以称为降G。
You also encounter the words flat and sharp in this book. A flat lowers a pitch a half step and a sharp raises the pitch a half step. F-sharp is the black key on the piano between F and G. The same black key between F and G can be called G-flat.
首先,你要调整好自己的姿势——也就是说,让你的身体各部位都排列整齐,做好唱歌的准备——然后探索你的呼吸。唱歌时的呼吸与正常呼吸不同,因为你需要吸入更多空气,并在更长的时间内消耗更多空气。当你的空气流动起来时,你就可以探索你声音的音色。
First, you want to get yourself aligned — that is, line up all your body parts to get ready to sing — and then explore your breathing. Breathing while singing is different from breathing normally, because you have to take in more air and use more air over a longer period of time. When you get the air flowing, you can explore the tone of your voice.
当你掌握了基本知识后,就可以开始练习你的歌唱嗓音了。第六章到第九章将提供更具体的信息,教你如何打造独一无二的嗓音。有时,歌手会试图模仿他们最喜欢的著名歌手。更好的方法是模仿你自己的声音。你的声音也可以像那位著名歌手一样美妙。你只需要练习来提升它。
When you have the basic information swimming around in your head, you can start to work on your singing voice. Chapters 6 through 9 offer you more specific information about how to create a sound that’s unique to you. Sometimes singers try to imitate their favorite famous singer. A better idea is to sound like yourself. Your voice can be just as fabulous as that famous singer’s. You just have to practice to develop it.
以下是需要努力的几点:
Following are some points to work on:
你的目标是让你的歌声听起来像一条从上到下流畅的线条。在上下发声的过程中,你的声音可能会有一些起伏和颤动。这很正常,但你随时可以获得帮助。第11章和第12章讲解了声音中被称为音区的几个特定区域——胸腔声部、中腔声部和头腔声部。在这些章节中,你可以了解声音各个部分的感觉以及如何运用它们。当你准备好时,可以尝试以下技巧:
Your goal is to make your singing voice sound like one smooth line from top to bottom. Your voice may have a few bumps and wiggles as you work your way up and down. That’s perfectly normal, but help is right at hand. Chapters 11 and 12 work with specific areas of the voice called registers — chest voice, middle voice, and head voice. In these chapters, you can discover what each part of the voice feels like and what to do with it. When you’re ready, try these tips:
强化你的中音、胸腔和头声,完成完整的发声练习:发声练习的第一步是找到不同的音域,然后注意每个音域的感觉。找到之后,你需要尝试平滑音域之间的过渡。你可能会发现你的胸腔和头声感觉差别很大。第11章和第12章的练习旨在帮助你消除这些障碍。一开始,你可能会觉得这些练习不容易,这很好。我不希望你感到无聊。即使你从未探索过任何发声,你也可以掌握这些练习,让你的声音达到良好的工作状态——这只需要一些时间和耐心。
第12章将帮助你完善音域转换,拓展音域。有些歌曲需要灵活性,本章中的练习可以帮助你提升敏捷性,甚至在一些流行乐段中展现你的敏捷性。
Strengthening your middle, chest, and head voice to get a complete vocal workout: The first step in the workout for the voice is to find the different registers of the voice and then notice what each feels like. After you find them, you want to try to smooth the transition between registers. You may find that your chest voice and head voice feel miles apart. The exercises in Chapters 11 and 12 are designed to help you smooth out the bumps. You may not think the exercises are easy in the beginning, which is good. I don’t want you to be bored. Even if you’ve never explored any vocal sounds, you can figure out these exercises and get your voice in good working order — it just takes some time and patience.
Chapter 12 helps you refine your register transitions and extend your range. Some songs require flexibility, and the exercises in the chapter help you develop agility and even try out your agility in some pop riffs.
通过我提供的练习,你逐渐掌握了演唱技巧,接下来需要进行下一步。第14章到第18章将讲解如何运用你的演唱技巧。在某个阶段,你希望将这种健康的演唱技巧运用到歌曲中。你也希望始终保持健康的演唱技巧和健康的嗓音。当你的演唱技巧真正成熟时,你可以学习第19章和第20章,学习如何将你的演唱技巧运用到表演中。演出规模可大可小。无论观众人数多少,你都希望自己看起来像个专业人士,并且对自己在舞台上的表现感到满意。
After you explore your technique through the exercises that I provide, you need to take the next step. Chapters 14 through 18 are about applying your technique. At some point, you want to apply that healthy technique to songs. You also want to maintain your healthy technique and a healthy voice at all times. When your technique is really cooking, you can explore Chapters 19 and 20, about moving your technique into a performance situation. Performances can be big or small. Whatever the size of the audience, you want to look like a pro and feel good about what you’re doing onstage.
要在为自己或他人唱歌时开始运用你的技巧,请考虑以下几点:
To start applying your technique when singing songs for yourself or others, consider the following:
选择合适的歌唱素材:寻找新的歌曲来唱可能会让人不知所措。选择太多,但你如何知道哪首歌适合你呢?线索在第16章。那里的列表提供了选择歌曲时应该注意什么和避免什么的建议。无论你是想找一首自娱自乐的歌,还是一首用于特定场合的歌,你都需要一首能凸显你优势的歌。
想要更多歌曲推荐,您可以浏览附录A,其中列出了一些有助于提升歌唱技巧的歌曲。这些歌曲涵盖了从古典到乡村的各种音乐风格。选择好想唱的歌曲后,请查看第17章,了解如何在短时间内掌握这首歌的技巧。
Choosing appropriate singing material: Finding new songs to sing can be overwhelming. You have so many choices, but how do you know what works for you? The clues are in Chapter 16. The lists there offer suggestions on what to look for and what to avoid when choosing songs. Whether you want a song to sing for your own pleasure or a song for a specific function, you want a song that accentuates your strengths.
For more suggestions of songs, you can explore Appendix A for a list of suggested songs for enhancing your singing technique. The songs cover different styles of music, from classical to country. After you choose the song you want to sing, check out Chapter 17 for some tips on how to conquer the song in a short amount of time.
唱歌不仅仅关乎音准和技巧——当然,这些考量也很重要。如果你只专注于唱歌的技巧,最终可能会用脑子而不是用心唱歌。记住,偶尔放松一下,享受唱歌的乐趣!
Singing is about more than just alignment and technique — although, of course those considerations are important. If you concentrate only on the technical aspect of singing, you may end up singing from your head rather than your heart. Remember to let loose every once in a while and have fun with it!
有些表演者在舞台上真的很棒——显然他们玩得很开心——而且他们的技巧也很棒。查看第21章,看看你喜欢的歌手中是否有人进入了我列出的技巧高超的表演者名单。如果你想让自己的表演更加精彩,第24章有一些很棒的技巧,可以让你像专业人士一样表演。在你的重要演出之前,请查看第22章,了解关于唱歌的最常见问题的答案,并参阅第23章,了解如何保持嗓音健康。保持健康的声音很重要。你的声带很小,你需要好好照顾它们。你还可以阅读关于药物和其他影响你歌喉的因素的文章。健康的嗓音和扎实的技巧将使你在未来几年里都能保持良好的歌喉。
Some performers are really amazing onstage — obviously having fun — and they also have great technique. Check out Chapter 21 to see whether any of your favorite singers made my list of performers with great technique. And if you want your performance to be spectacular, Chapter 24 has some great tips on performing like a pro. Before your big performance, check out Chapter 22 for answers to the most commonly asked questions about singing, and see Chapter 23 for information on keeping your voice healthy. Maintaining a healthy voice is important. Your vocal cords are really small, and you want to take good care of them. You can also read about medications and other factors that influence your singing voice. A healthy voice and solid technique will keep you singing for years to come.
本书附带的在线曲目www.dummies.com/go/singingfd3e是帮助你不断磨练技巧的绝佳工具。曲目中的歌手与你有两个共同点:
The online tracks at www.dummies.com/go/singingfd3e that come with the book are a great tool to help you keep polishing your technique. The singers on the files have two things in common with you:
你可能以为只有古典歌手才有发声练习,但事实并非如此。一些著名歌手甚至会在舞台上演唱流行摇滚歌曲之前上传自己练习的视频。看看这些歌曲中不同的歌手,从说唱歌手、歌手、流行歌手、音乐剧演员到古典歌手,以及各种不同嗓音类型的歌手,看看你能不能分辨出他们演唱的音乐风格。
You may think that only classical singers have a vocal workout routine, but that’s not true. Some famous singers even post videos of themselves practicing before they walk out on stage and sing their pop-rock tunes. Check out the different singers on the tracks that range from a rapper, belters, pop singers, musical theater performers, classical singers, and different voice types of all shapes and sizes to see if you can tell what style of music they perform.
你可能会惊讶地发现,仅仅听他们热身,往往很难看出歌手的类型。录制曲目前后,每位歌手都笑料百出,并经历了一场挑战,要为你展现出独特的声音。
You may be surprised that the type of singer isn’t always obvious just by listening to them warm up. Before and after recording the tracks, each singer laughed a lot and experienced the challenge of demonstrating a specific sound just for you.
第二章
Chapter 2
本章内容
IN THIS CHAPTER
了解声音类型的高低
Understanding the highs and lows of voice types
发现声音类型类别
Discovering the voice type categories
找到适合自己的位置
Finding out where you fit in
找到自己的嗓音类型并非易事,因为嗓音类型是由多种因素共同决定的。如果您唱歌是为了享受乐趣,则无需了解自己的嗓音类型,但您可能很想知道。如果您渴望成为专业歌手或参加专业试镜,那么您肯定想知道自己的嗓音类型。试镜时会被问到这个问题,所以您需要在别人询问之前就知道自己的嗓音类型。第20章有更多关于试镜的信息。
Finding your voice type is a challenge because several ingredients combine to create a voice type. You don’t have to know your voice type if you’re singing for your own enjoyment, but you may be curious to find out. If you aspire to sing professionally or do some professional auditions, you definitely want to know your voice type. You’ll be asked at the audition, so you want to know that answer before someone asks. Chapter 20 has more info about auditions.
确定你的嗓音类型——女声是女高音还是女中音,男声是男高音还是男低音——能让你选择最适合自己的歌曲。弄清楚自己属于哪一类后,请查看附录A,了解适合你嗓音类型的歌曲列表。继续阅读,探索每种嗓音类型的声音,以及如何确定你的声音适合哪种类型。
Determining your voice type — soprano or mezzo-soprano for women, tenor or bass for men — enables you to choose songs that are most appropriate for you. After you figure out what category you fit into, check out Appendix A for a list of songs suitable for your voice type. Read on to explore how each voice type sounds and how to determine where your voice fits.
把一种声音类型想象成一系列混合在一起的配料,创造出一种独特口味的甜点。对于唱歌来说,这些配料结合在一起,创造出一种独特的声音。四种常见的声音类型是女高音、女中音(通常称为女中音)、男高音和男低音(下一节“识别四大天王”将详细介绍这四种声音类型)。这五种成分决定了一种声音类型:
Think of a voice type as a series of ingredients mixed together to create a unique-tasting dessert. For singing, the ingredients combine to create a unique-sounding voice. The four common voice types are soprano, mezzo-soprano (often called mezzo), tenor, and bass (the next section, “Identifying the Fab Four,” tells you all about these four voice types). These five ingredients determine a voice type:
音域: 音域是指一系列发音相似、发音方式相似且音质相似的相邻音符。这些音符发音相似,是因为相同的肌肉产生这些音符,而且它们通常在歌手身体的相似部位振动。音域之间的过渡可以帮助你判断自己的嗓音类型。继续阅读本章,了解每种嗓音类型的过渡感受,从而帮助你判断自己的嗓音是否相似。随着嗓音的发展,嗓音的过渡可能会发生变化。(第 11 章有更多关于音域的内容。)
歌手最舒适的音域被称为“音域”。如果你在讨论某首歌曲时听到“音域”这个词,它指的是歌曲中大部分音符所在的区域。史蒂夫·旺德的一首歌的音域相当高,因为他能轻松地唱出很多高音。“上帝保佑美国”和大多数民歌的音域都比较低。了解自己的声音在哪个区域最舒服,以及哪个区域不舒服,是选择声音类型的决定性因素。
Register: Register refers to a series of adjacent notes that sound similar, are produced in a similar fashion, and have a similar tonal quality. The notes sound similar because the same muscles produce them and they often vibrate in a similar location in a singer’s body. The transitions between the registers can help you determine your voice type. Keep reading this chapter to find out where each voice type feels transitions to help you decide whether your voice does something similar. The transitions in your voice may change as your voice develops. (Chapter 11 has more on registers.)
The range of the voice where a singer is most comfortable is called tessitura. If you hear the word tessitura used in a discussion about a song, in that case, it refers to the area where most of the notes lie in the song. The tessitura of a Stevie Wonder song is quite high, because he’s comfortable singing a lot of high notes. The tessitura for “God Bless America” and most folk songs is lower. Knowing where your voice is most comfortable, as well as where it’s uncomfortable, is a determining factor when it comes to voice type.
四种嗓音类型分别是女高音、女中音、男高音和男低音。虽然这些名字听起来像黑帮电影里的角色,但我向你保证,它们没什么可怕的。在接下来的章节中,你将了解每种嗓音类型的具体特征:音域、音域转换、音色以及该嗓音类型的细分,同时还会介绍一些著名歌手的名字,帮助你将声音与嗓音类型联系起来。
The four voice types are soprano, mezzo, tenor, and bass. Even though these names sound like characters in a mob movie, I promise you that they’re nothing to be afraid of. In the upcoming sections, you discover specific traits about each voice type: the range, register transitions, voice tone, and any subdivisions of that voice type, as well as the names of a few famous singers to help you put a sound with the voice type.
如果您在阅读完所有声音类型后感到困惑,请记住,今天确定您的声音类型并非绝对必要。阅读本章中对声音类型的描述后,您可能已经准备好暂时选择女高音而不是女中音,或者男低音而不是男高音了。尝试一下这个音域,看看是否合适。本章的要点是,如果您愿意,可以弄清楚自己的声音类型。如果您演唱大多数风格的音乐,那么声音类型并不重要,重要的是弄清楚您的声音是否能唱出您喜欢的歌曲中的所有音符。
If you’re confused after reading about all the voice types, remember that naming your voice type today isn’t absolutely necessary. After you read the descriptions of the voice types in this chapter, you may be ready to vote soprano over mezzo or bass over tenor for now. Try that range for a while and see whether it fits well. The takeaway from this chapter is to figure out your voice type if you want. If you’re singing most styles of music, your voice type won’t matter as much as figuring out if your voice can sing all the notes in the song you like.
提升你的技巧能帮助你演唱任何风格的更高级的歌曲。弄清楚你的嗓音类型可能很有趣,但要知道哪种类型适合你也需要一段时间。记住,你的声音会告诉你它今天在身体上能做什么,然后这些技能会随着时间的推移而提高,你最终可能会选择不同的嗓音类型。要判断一个歌手是否适合你,要困难得多。广播是一种特殊的嗓音类型。他们可能已经完善了胸腔共鸣,但却没有花时间发展头腔共鸣。一位歌手可能听起来像女中音,但实际上可能是女高音,只是不演唱高音歌曲。
Developing your technique helps you sing more advanced music in any style. Figuring out your voice type can be fun, but it can also take a while to know which category suits you. Remember that your voice will tell you what it can do physically today and then those skills will improve over time and you may end up choosing a different voice type later. It’s much harder to tell if a singer on the radio is a specific voice type. They may have refined their chest voice but not spent time developing their head voice. A singer may sound like a mezzo, but they might be a soprano who just doesn’t perform songs that have higher notes.
女高音是女性嗓音类型中音域最高的。其嗓音类型具有以下特点:
The soprano has the highest range of the female voice types. The following aspects are characteristic of her voice type:
音域:通常为中央 C 到高音 C,但有些女高音可以唱出远超高音 C 且比中央 C 低得多的声音(见图2-1)。
女高音通常以高音C为主,许多女高音都能唱到高音C以上的G或A。合唱团指挥或音乐总监在判断歌手是否是女高音时,会聆听歌手的舒适区。虽然女中音也能唱到一些高音,但女高音比女中音更能轻松地唱出高音。
Range: Often Middle C to High C, although some sopranos can vocalize way beyond High C and much lower than Middle C (see Figure 2-1).
A soprano is expected to have a High C, and many sopranos can sing up to the G or A above High C. Choral directors or musical directors listen for the singer’s comfort zone when determining whether the singer is a soprano. Although a mezzo can reach some of these higher notes, a soprano is comfortable singing high notes more frequently than a mezzo.
古典音乐中女高音的细分包括轻抒情、全抒情、轻抒情花腔、全抒情花腔、轻戏剧花腔、全戏剧花腔、轻戏剧(或称“戏剧女高音”)和全戏剧。请参阅附近侧边栏中关于细分的信息。
Soprano subdivisions in the classical world include light lyric, full lyric, light lyric coloratura, full lyric coloratura, light dramatic coloratura, full dramatic coloratura, light dramatic (or spinto), and full dramatic. See the information in the nearby sidebar about subdivisions.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 2-1:女高音范围。
FIGURE 2-1: Soprano range.
女中音(mezzo 是女中音的缩写)和女高音之间的区别通常在于音域。(音域指的是歌曲中大多数音符所在的位置——声音唱起来最舒服的音符。)许多女中音可以唱到和女高音一样高,但她们无法保持和女高音一样高。例如,歌剧文学中的一些角色要求女中音唱到和女高音主唱一样高,但女中音通常不需要像女高音那样唱那么多高音——谢天谢地——因为女中音的舒适区通常与女高音不同;女中音更喜欢用中声部。另一方面,女高音讨厌用中声部,更喜欢唱高音,在管弦乐队之上翱翔。
The difference between a mezzo (mezzo is the abbreviated term for mezzo-soprano) and a soprano is often tessitura. (Tessitura refers to where most of the notes lie in a song — the notes that a voice feels most comfortable singing.) Many mezzos can sing as high as a soprano, but they can’t stay as high as a soprano. For example, some roles in operatic literature require the mezzo to sing as high as the soprano lead, but the mezzo usually doesn’t have to sing as many high notes as a soprano does — thank goodness — because the mezzo comfort zone is usually different than the soprano; mezzos prefer to live in their middle voices. On the other hand, a soprano hates to live in her middle voice, preferring to sing high notes and soar above the orchestra.
更让你困惑的是,很多女高音会唱女中音的曲目。她们怎么敢!这不公平,但这是事实。就像生活中的其他方面一样,女高音成名后,她会演唱自己喜欢的曲目,而这些曲目可能是为别人创作的,比如女中音。所以,女高音演唱的歌曲并不意味着这首歌就是女高音歌曲。你必须仔细观察歌曲的细节,比如音域,并判断这个音域是否适合你的声音。记住以下几点:
To further confuse you, many sopranos sing mezzo repertoire. How dare they! That’s not fair, but it’s a fact. As in other aspects of life, after the soprano becomes famous, she sings repertoire that she enjoys and that may be music written for somebody else, such as mezzos. So just because a soprano sings a song doesn’t mean that it’s a soprano song. You have to look at the details, such as the range of the song, and decide whether that range fits your voice. Keep the following in mind:
古典音乐界中女中音的细分包括轻抒情华彩、全抒情华彩、轻抒情、全抒情和戏剧女中音。戏剧女中音与戏剧女高音相似。公平地说,我承认戏剧女中音有时会演唱为戏剧女高音创作的角色。加油,姑娘们!
Mezzo subdivisions in the classical world include light lyric coloratura, full lyric coloratura, light lyric, full lyric, and dramatic. The dramatic mezzo is similar to the dramatic soprano. To be fair to the sopranos, I confess that dramatic mezzos sometimes sing roles written for the dramatic soprano. You go, girls!
您可以在第 16 章中找到有关为您的声音选择合适歌曲的更多信息,并在附录 A中找到适合不同声音类型的歌曲列表。
You can find more information about selecting appropriate songs for your voice in Chapter 16 and a list of songs for different voice types in Appendix A.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 2-2:中频范围。
FIGURE 2-2: Mezzo range.
感谢三大男高音、爱尔兰男高音,甚至还有“三大男高音”,你可能对男高音的声音有了一定的了解。以下信息或许对你有所帮助:
Thanks to the Three Tenors, the Irish Tenors, and even Three Mo’ Tenors, you probably have a good idea of what a tenor sounds like. The following can help:
古典音乐中,男高音的细分包括轻抒情、抒情、戏剧和英雄男高音。英雄男高音也被称为戏剧男高音或英雄男高音——嗓音洪亮、体力充沛的男高音。不要在当地酒吧里挑战他参加歌唱比赛。
Tenor subdivisions in the classical world include light lyric, full lyric, dramatic, and heroic. The heroic tenor is also called a dramatic tenor or heldentenor — the guy who has a large voice with great stamina. Don’t challenge him to a singing contest at the local pub.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 2-3:男高音范围。
FIGURE 2-3: Tenor range.
男低音是所有嗓音类型中最低的。男低音就像理发店四重唱里唱所有酷炫低音的人。以下是一些特点:
Bass is the lowest of the voice types. The bass is the guy who sings all the cool low notes in the barbershop quartet. Here are some characteristics:
男低音的细分包括喜剧男低音(剧中滑稽的人物),以及抒情男低音和戏剧男低音。他的同门——男中音,也分为轻抒情男中音、全抒情男中音和低男中音。
Bass subdivisions include the comic bass (funny guy in the show), as well as lyric and dramatic bass. His subdivision buddy, the baritone, also comes in different shapes and sizes: light lyric baritone, full lyric baritone, and bass baritone.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 2-4:低音范围。
FIGURE 2-4: Bass range.
为了更好地了解嗓音类型,不妨听听这些歌手和歌曲,比较一下不同嗓音类型的发音。如果您是古典音乐爱好者,前面的信息正适合您。如果您不是古典音乐爱好者,可以直接跳到“不在歌剧院”部分,或者跳回到每种嗓音类型下的“命名名称”列表,查看您在收音机里听到的一些歌手。或者继续阅读,了解那些古典音乐爱好者到底在说什么。
To get a better idea of voice types, check out these singers and songs to compare sounds of different voice types. If you’re a classical music fan, the info ahead is just for you. Not a classical music fan? Skip ahead to the section, “Not at the opera,” or jump back to the list of Naming Names under each voice type for some singers you hear on the radio. Or keep reading to figure out what those classical music nuts are going on about.
古典音乐界对声音类型的追求可谓五花八门。你可能在前面几节中读到过的声音类型,听起来可能很复杂。为了简化问题,你可以在你常用的搜索引擎中输入这些名字和作品,听听与名字相匹配的声音。这正是我最初研究声音类型时想要的列表。
The classical music world goes all out for voice types. The types of voices you may have read about in the previous sections seems complicated. To uncomplicate things, type in these names and pieces in your favorite search engine to hear the sounds that go with the names. This is the list I wanted when I was first figuring out voice types.
因为前面这些出色的表演者并不是在争夺歌剧中的角色,所以比较的是声音的重量和舒适区,而不是试图确定声音类型的精确细分:
Because these fabulous performers ahead aren’t vying for roles in the opera, the comparison is on the weight and comfort zone of the voice instead of trying to determine an exact subdivision of the voice type:
第三章
Chapter 3
本章内容
IN THIS CHAPTER
检查你的车厢和轴承
Checking out your carriage and bearing
采取正确的姿势来帮助你唱歌
Striking the right stance to help you sing
伸展、柔韧,准备唱歌
Lengthening, limbering, and getting ready to sing
为了高效地唱歌,你需要让身体各个部位都协调一致,让它们做好准备,尽可能减少紧张。如果你弯腰驼背,唱歌时呼吸会更加困难,因为姿势和紧张会直接影响肌肉。身体紧张还会阻碍你深呼吸,使唱歌更加困难。在本章中,你将学习如何打造完美、无紧张的姿势,从而展现自信,唱出最好的歌声。
To sing efficiently, you need to line up all your body parts and get them ready to do their job with as little tension as possible. If you’re slumped over, you have more trouble taking the breath you need to sing because posture and tension directly affect the muscles. Tension in your body also prevents you from taking a deep breath and makes singing more difficult. In this chapter, you discover how to create spot-on, tension-free posture so you can project confidence and sing your best.
站在全身镜前,审视一下自己的姿势。注意你的身体姿势,尤其是头部、胸部、臀部、膝盖、手臂和手部。很可能,照完镜子后,你改变了姿势。你改变姿势是因为你觉得身体状态会更好,还是因为你觉得自己看起来更帅?对于唱歌来说,你会出于这两个原因评估自己的姿势。调整好身体姿势,能让所有帮助你唱歌的肌肉都处于正确的位置。正确的姿势不仅能让你唱得更好,还能让你看起来更自信、更专业。
In front of a full-length mirror, look at your posture. Notice the way you hold your body, especially your head, chest, hips, knees, arms, and hands. More than likely, after you looked in the mirror, you changed your posture. Did you change your posture because you thought your body may work better or because you thought you may look better? For singing, you evaluate your posture for both reasons. Aligning your body properly puts all the muscles that help you sing in the right position. Proper alignment gets you singing better and also makes you appear confident and professional.
观察图 3-1,检查骨架的对齐情况。花点时间研究骨架,并注意骨骼的连接。在本章中,我会指出需要对齐的骨架的特定区域。
Look at Figure 3-1 and check out the alignment of the skeleton. Take some time to study the skeleton and notice the connection of bones. Throughout the chapter, I point out the particular area of the skeleton you’re aligning.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 3-1:骨架的理想排列。
FIGURE 3-1: Ideal alignment of the skeleton.
打造理想姿势意味着找到理想姿势的视觉和感觉,以便快速做出任何必要的改变。通过改变姿势,你可以掌控自己给别人留下的印象——无论你是在舞台上演唱,还是在试镜中争夺主角。良好的姿势能让能量流动,而不是被束缚在身体的某个部位,还能让你的身体保持平衡,从而实现高效的呼吸。更多关于歌唱呼吸的信息,请参阅第四章。继续阅读,了解如何调整身体,从而获得出色的歌唱效果。
Creating ideal posture means finding out what ideal posture looks like and feels like so that you can quickly make whatever changes you need. By changing your posture, you control what kind of impression you make on others — whether you’re on the stage singing or at the audition vying for the show’s lead. Good posture keeps energy flowing instead of trapping it in one body part, and it also aligns your body for efficient breathing. See Chapter 4 for more information about breathing for singing. Read on for ways to align your body for great singing.
良好姿势的根源在于双脚的位置和双脚的重量平衡。双脚似乎与唱歌过程无关,但双脚均匀分布重量可以让所有肌肉得到放松,从而发出美妙的声音。尝试以下顺序,找到双脚重量的平衡。
The root of good posture is the position of your feet and the balance of weight on your feet. Seems like the feet are a long way from the singing process, but equal distribution of weight on the feet allows all the muscles to stay released so you can make gorgeous sounds. Try this sequence to find the balance of weight on your feet.
站立时,转动脚来找到三脚架。
在地板上滚动你的脚,画一个圆圈,从脚后跟开始,经脚外侧、脚趾,再向下到脚内侧。滚动脚时,你会感觉到脚后跟骨、小脚趾下方的骨头或突起,以及大脚趾下方的另一个突起或骨头。在这三个点之间滚动几次,直到你真正感觉到它们。有些人把这三个点称为“三脚架” 。
如果你不确定转动脚时是否感觉到了三脚架,可以坐下来,沿着脚底摸索,找到这三个点。慢慢地感受每一个点。观察图 3-1中的骨骼,特别注意构成脚的骨骼。
While you’re standing, roll your foot to find the tripod.
Roll your foot on the floor to make a circle that moves from your heel through the outside of your foot, across your toes, and down the inside of your foot. As you roll the foot, you feel the heel bone in the back of your foot, a bone or protrusion under your little toe, and another protrusion or bone under your big toe. Roll among these three points several times so that you really feel the points. Some people call these three points the tripod.
If you aren’t sure whether you felt the tripod when you rolled your foot, sit down and feel along the bottom of your foot to find the three points. Take your time and feel each point. Look at the skeleton in Figure 3-1 and take special notice of the bones that make up the foot.
当您确信感觉到脚上的三个点时,请将您的重量平衡在这三个点上。
“三条腿的桌子永远是水平的”这句话在这里适用。你需要让你的体重均匀地分布在这三个点上。如果你刻意向后倾斜,把体重放在脚后跟上,你会感觉到身体前侧收紧,支撑着你。同样,如果你向前倾斜,把体重放在脚前侧,你会感觉到身体后侧收紧。照照镜子,或者观察你身体的紧张程度。试着找到中心点,或者你既不向前也不向后的位置;你的双脚保持平衡,并且保持直线。
When you’re confident that you feel the three points on the foot, balance your weight on those three points.
The phrase that the three-legged table is always level applies here. You want your weight evenly balanced on the three points. If you intentionally lean back and put your weight on your heels, you feel the front of your body tighten to hold you up. Likewise, if you lean forward and put your weight on the front of your feet, you feel the back of your body tighten. Watch yourself in the mirror or observe the tension in your body. Try to find the center, or the position where you’re neither forward nor back; you’re evenly balanced on your feet and aligned.
找到双脚的平衡点后,将双脚放在臀部下方。如果你将双手放在臀部,你可以感觉到身体两侧的臀部肌肉,也可以感觉到前方的髋骨。髋骨正下方就是你的脚(如图 3-1所示,找到髋骨)。
After you find the balance of weight on the feet, place your feet beneath your hips. If you place your hands on your hips, you can feel the muscles of your hips on the sides of your body and you can also feel your hipbone in the front. Directly under the hipbone is your foot (find the hipbone in Figure 3-1).
很多人习惯将双脚与肩同宽,这可能对你有用,也可能没用。女性通常肩窄胯宽,而男性则通常肩宽胯窄。无论你的肩膀多宽,双脚都应该与胯同宽。
A lot of people tend to put their feet at shoulder width, which may or may not work for you. Women tend to have narrow shoulders and wider hips, whereas men tend to have wide shoulders and narrow hips. Regardless of the width of your shoulders, you want to align your feet under your hips.
我建议你双脚平行放置在臀部下方,这样你就能感觉到双脚的重量均衡。当你熟悉了这个姿势后,改变双脚的位置,并保持身体的重量平衡。你希望身体的重量和力量能够均匀分布。你也可以脚尖向外站立,感受腿部产生的张力。同样,你也可以脚尖向内站立,感受这对腿部肌肉的影响。你需要探索脚尖伸直和双脚平行的感觉。
I recommend that you place the feet parallel under your hips so that you feel the equal balance of weight on your feet. When that stance feels familiar to you, change the position of your feet and maintain the balance of weight in your body. You want equal distribution of weight and effort in the body. You can also stand with your toes pointed out, to feel the tension created in the legs. Likewise, you can stand with your toes pointed in and notice that effect on the muscles in your legs. You want to explore the feeling of toes pointed straight and the feeling of parallel feet.
站立时,脚踝需要保持张开和灵活。坐在椅子上或单腿站立,活动脚部,感受脚踝的灵活性。如果感觉脚踝紧绷,可以慢慢地前后或画圈活动,拉伸肌肉,释放一些压力。活动另一只脚或脚踝,使两侧都能得到同等程度的放松。拉伸完两侧脚踝后,注意它们的感觉。它们应该感觉张开和灵活,就像能够支撑身体的重量一样。
You want your ankles open and flexible when you’re standing. Sitting in a chair or standing on one leg, move your foot around to feel the flexibility in your ankle. If your ankle feels tight, take your time and move it gently back and forth or in circles to stretch the muscles and release some tension. Move around the other foot or ankle so both are equally released. After you stretch both ankles, notice how they feel. They probably feel open and flexible, as if they can support the weight of your body.
观察图 3-1,了解足部和踝部是如何连接的。踝部并非位于足跟正上方,而是位于足跟前方。如果你假装将脚踝下沉,你会感觉身体变重,从而对脚踝和足部施加压力。如果你想象在脚踝处有一个弹簧(减震器),你就能感觉到足部和踝部有一种打开的感觉,仿佛身体的重量被均匀分布。来回练习几次。将脚踝下沉,然后放入想象中的弹簧。你不仅要在站立时注意到弹簧,在行走时也要注意。
Look at Figure 3-1 to see how the foot and ankle are connected. The ankle isn’t directly over the heel; it’s in front of the heel. If you pretend to sink into your ankles, you feel as if your body is heavier, putting pressure on your ankles and feet. If you visualize a spring (shock absorber) in the ankles, you can feel an opening sensation in the feet and ankles, as if the weight of the body is equally distributed. Go back and forth a few times. Sink into your ankles and then put in the imaginary spring. You want to notice the spring not only when you’re standing, but also when you’re walking.
唱歌时,你需要全身心投入,才能发出声音。双腿是你的支撑系统,你需要它们支撑你,而不是绷紧。试试以下建议,学习如何锻炼你的双腿。
For singing, you want to engage the entire body in making sound. The legs are your support system, and you want them to hold you up without tightening. Try the following suggestion to discover how to engage your legs.
要想在唱歌时感受到双腿的参与,可以在吸气时做屈膝动作。屈膝的意思是“弯曲”,吸气时膝盖要弯曲。这种弯曲能让你感受到一种贯穿全身、直达双腿的开放感。唱歌时,你可以逐渐从弯曲处站起来。每次换气时,再次做屈膝动作,让双腿也感受到开放感,然后慢慢站起来。练习几周后,试着唱一首不做屈膝或弯曲动作的歌,看看你是否能在吸气和吸气时找到同样的双腿开放感。边唱歌边参与。回顾图 3-1中的骨骼;注意腿部的骨骼以及膝盖的形状。
To feel the legs engage as you sing, use a plié as you take the breath. Plié means “to bend,” and you want to bend your knees as you inhale. This bending helps you feel an opening sensation through your body and down into your legs. As you sing, you can gradually stand back up from the bend. With each new breath, plié again to create the opening sensation in your legs and gradually stand back up. After you practice this way for a few weeks, try singing a song without the plié or bend to see if you can find the same feeling of opening in your legs as you inhale and engage as you sing. Review the skeleton in Figure 3-1; notice the bones in the legs and also the shape of the knees.
相反,你应该保持膝盖放松。放松的膝盖并非锁定——但也不会弯曲。为了区分放松和弯曲的膝盖,请站立,并通过向后推膝盖来锁定膝盖,直到膝盖周围的肌肉锁定。不要弯曲膝盖,放松周围的肌肉。再次锁定膝盖,当你放松肌肉时,弯曲膝盖。在锁定位置和弯曲位置之间来回移动。你需要感受放松的姿势,它介于锁定和弯曲之间。弯曲的膝盖会让你显得矮一些。放松的膝盖可以保持你的身高不变,膝盖周围的肌肉不会紧张。
Instead, you want to keep your knees released. Released knees aren’t locked — but they’re also not bent. To find the difference between released knees and bent knees, stand and lock your knees by pushing the knee backward until the muscles around the knee lock. Without bending the knees, release the muscles around them. Lock the knees again, and when you release the muscles, bend your knees. Move back and forth from the locked position to the bent position. You want to feel the released position, which is between locked and bent. Bent knees make you a little shorter. Released knees keep you the same height, without tight muscles around your knees.
再次参考图 3-1,观察臀部或骨盆。你可以把臀部想象成你试图塞进紧身牛仔裤里的部分。我希望你看到的是骨盆,而不是去年冬天增加的那 10 磅体重。如果你熟悉骨骼,你就会知道,我说的“摇动臀部”指的是移动骨盆。
Refer again to Figure 3-1 and look at the hips or pelvis. You may think of the hips as what you try to squeeze into your tight jeans. I want you to visualize the pelvis and not those extra 10 pounds you gained last winter. If you’re familiar with the skeleton, you know that I’m talking about moving the pelvis when I say “rock your hips.”
当你确信自己能感觉到臀部正中时,就可以左右移动臀部。很多人站立时臀部会向左或向右翘起。这种姿势可能适合日常交谈,但不利于唱歌。臀部偏向一侧时,背部会错位,造成紧张。照着镜子,左右或前后移动臀部,直到感觉到臀部正中。你的躯干。这个中心位置,不前不后,不左不右,是唱歌的理想位置。
When you’re confident that you can feel when your hips are centered under you, you can move your hips from left to right. Many people stand with their hips sticking out to the left or right. That posture may be fine for casual conversation, but it’s not helpful for singing. When your hips are off to one side, your back is out of alignment, causing tension. Watching yourself in the mirror, move your hips from left to right or front to back until you feel the centered position underneath your torso. This centered position, neither front, back, right, nor left, is the ideal position for singing.
因为很多人臀部下沉,所以你需要了解臀部抬高是什么感觉。臀部抬高意味着你感觉到臀部和躯干之间有一个开口。你可以刻意地让臀部下沉,感受身体增加的压力。臀部下沉时,你可能会感觉更重、更下垂。要让臀部抬高,感受臀部和躯干之间的弹簧或减震器,并想象你的躯干从双腿中抬起。
Because many people sink into their hips, you want to understand what it feels like to lift out of your hips. Lifting out of your hips means that you feel an opening between your hips and your torso. You can intentionally sink into your hips to feel the added pressure on your body. You may feel heavier and slumped when you sink into your hips. To lift out of your hips, feel the spring or shock absorber between your hips and torso, and imagine your torso rising out of your legs.
脊柱是人体内部一组奇妙的弯曲骨骼,它们彼此堆叠。图 3-1显示了脊柱的自然曲线。脊柱的紧张会导致呼吸紧张。为了拉长和放松脊柱,您需要从内到外打开和拉长身体。想象您的脊柱修长而灵活,并感受尾骨和头骨之间的距离。为了保持良好的姿势,您需要尾骨位于身体下方并朝向地板,同时头骨向上抬起。您不想感觉到身体有拉扯感;您想要一种打开和拉长的感觉。您可以想象脊柱的每块骨头或椎骨之间都有空间。脊柱与胸腔相连,您希望脊柱随着胸腔一起拉长和打开。
The spine is the marvelous curvy set of bones stacked on top of each other inside your body. Figure 3-1 shows the natural curve of the spine. Tension in the spine causes tension for breathing. To lengthen and release the spine, you want to open and lengthen your body from the inside out. Visualize your spine as long and flexible, and feel the distance between your tailbone and your skull. For great posture, you want your tailbone under you and headed to the floor while your skull lifts to the sky. You don’t want to feel a pulling sensation in your body; you want an opening and lengthening sensation. You can visualize space between each bone or vertebrae of your spine. Your spine connects with your rib cage, and you want your spine to lengthen and open with your rib cage.
脊柱顶端是颈部。颈部应该是弯曲的——请看图 3-1中骨骼中颈部的曲线。如果你还记得上一节中脊柱的张开和延长,你可以继续将这一思路延伸到头部,使头部在脊柱上方保持平衡。想象一下放在汽车仪表盘上的摇头娃娃:娃娃的身体不动,但头部会上下摆动。你需要让你的头部轻松地在脊柱上方保持平衡。
At the top of the spine is your neck. The neck is supposed to be curved — check out the curve of the neck in the skeleton in Figure 3-1. If you remember the opening and lengthening of the spine from the previous section, you can continue that idea of lengthening through the neck up into the head so that the head balances on top of the spine. Think of the bobble-head dolls that sit on the dash of the car: The body of the dolls doesn’t move, but the head bobs around. You want your head balanced that easily on top of your spine.
要感受头部的重量,就让头部感觉沉重,就像它就在你的肩膀上一样。这种重量和压力过一段时间后会让人感觉不舒服,所以你需要感受到来自身体内部的头部打开和抬起的感觉。试图抬起头部只会增加颈部的压力。你的头部重量大约相当于一个保龄球——它很重,所以需要一些支撑才能保持向上。
To feel the weight of your head, allow your head to feel heavy, as if it sits right on your shoulders. This weight and pressure doesn’t feel good after a while, so you want to feel an opening up and lifting of the head that comes from inside the body. Trying to push up the head only causes tension in your neck. Your head weighs about the same as a bowling ball — it’s pretty heavy, so it needs some help to stay up.
为了保持头部在身体上的平衡,你需要保持肩膀的平衡。肩膀位于肋骨上方,其位置和平衡至关重要。向前转动肩膀,感受它如何拉伸和弯曲你的背部,并收缩你的胸部。然后向后转动肩膀,感受它如何将你的胸部向前推。肩膀的理想位置是不前也不后,也不上下压;这是一种平衡。
To keep your head balanced on your body, you want your shoulders to be evenly balanced. Your shoulders sit on top of your rib cage, and their position and balance are important. Roll your shoulders forward to feel how it stretches and curves your back and collapses your chest. Then roll your shoulders back to feel how it thrusts your chest forward. The ideal position for your shoulders is neither forward nor back, and pressing neither up nor down; it’s an even balance.
当你活动肩膀时,你也能感觉到肩胛骨在移动。如果你收紧肩胛骨,你会感觉到胸腔的紧张。为了保持良好的姿势,你需要打开肩胛骨,并在背部放松;吸气时,肩胛骨也需要向下放松。为了保持肩膀的平衡,你还需要感受手臂和胸部之间的连接。观察图 3-1,观察手臂和肩膀之间的连接,并注意肩膀如何位于胸腔上方。
When you move your shoulders, you can also feel your shoulder blades moving. If you tighten your shoulder blades, you feel tension in your rib cage. For good alignment, you want your shoulder blades open and released across your back; you want the shoulder blades to release downward as you inhale. To balance the shoulders, you also want to feel the connection between your arms and your chest. Look at Figure 3-1 to see the connection between the arms and shoulders and notice how the shoulders sit on top of the rib cage.
释放身体的紧张感,能让歌声更开阔,呼吸也更顺畅。你可能注意到,我并没有要求你放松。如果你放松,你可能会瘫倒在沙发上,看你最喜欢的情景喜剧。唱歌时,你需要身体保持平衡,但又放松下来,没有紧张感。释放意味着让你的身体保持准备状态:准备好移动、呼吸,爬出你的舒适区,为世界歌唱。即使你静止不动,也要把身体的运动想象成流畅的运动。
Releasing tension in your body allows for a more open sound and easier breathing. You may notice that I don’t ask you to relax. If you relax, you may fall limply on the couch to watch your favorite sitcom. For singing, you want your body aligned but released and free of tension. Releasing means keeping your body in a state of readiness: ready to move, breathe, and crawl out of your comfort zone and sing for the world. Think of body movement as fluid motion even when you’re still.
为了释放手臂和手部的紧张感,您还需要检查手臂和手部的周围区域。
To release any tension in your arms and hands, you also want to check in with the areas surrounding the arms and hands.
信不信由你,头部和面部的紧张在歌手中相当常见。当你扬起眉毛或皱起眉头时,你就能感受到面部的紧张。即使你看不到皱纹,面部肌肉也可能处于紧张状态。继续阅读,了解如何释放明显和不可见的紧张感。
Believe it or not, tension in the head and face is pretty common in singers. You can see tension in the face when the eyebrows lift or the brow furrows. The facial muscles may also hold tension, even though you may not see the face wrinkle. Read on for information about how to release both obvious and invisible tension.
对着镜子看着你的脸。收紧面部肌肉,这样你就能看到肌肉收缩的现象。现在放松一下,感受一下那种感觉。放松下来后,你的脸可能会感觉更宽阔或更开阔。多收紧和放松几次,这样你就能真正感受到变化。注意额头上肌肉想要抬起或皱起眉头时产生的紧张感。
Look in the mirror at your face. Tighten your face so that you can see the muscles squeezing together. Now release that tension and notice what it feels like. When the tension releases, your face may feel wider or more open. Tense and release several more times so you can really feel the difference. Notice any tension in your forehead from the muscles wanting to either lift or furrow the brow.
接下来,注意眼睛是否有紧张感。眼睛紧张的感觉就像眯眼或眼后紧绷。当眼睛睁开且没有紧张感时,感觉就像你看到某个东西时眼睛后方的睁开感。让你感到惊讶。假设一位许久未见的朋友走进门来。注意你睁开眼睛,并感受到眼后空间感。睁开或释放眼后紧张感也有助于额头放松。
Next, notice any tension in your eyes. Tension in your eyes feels like squinting or a tightness behind your eyes. When the eyes are open and free of tension, it feels similar to the opening you feel behind your eyes when you see something that surprises you. Pretend that a friend you haven’t seen in a long time walks through the door. Notice the opening of your eyes and a feeling of space behind your eyes. The opening or release of tension behind the eyes also helps the forehead to relax.
释放头部紧张感并打开空间需要让头部肌肉保持柔韧性。如果你长时间眯着眼或高度集中注意力,你的头部可能会因紧张性头痛而疼痛。为了避免紧张,可以按摩头皮。看看头皮上的皮肤是否能活动起来。如果头皮很紧,可能活动不大,但通过按摩和拉伸,或许可以让它稍微活动一下。你还可以想象你的头部由内而外地扩张。
Releasing the tension in your head and opening the space involves allowing the muscles to stay pliable on your head. If you squint or concentrate really hard for a long time, your head may start to hurt from a tension headache. To prevent that tension, massage your scalp. See whether you can get the skin on your scalp to move around. It might not move much if it’s tight, but you may get it to move a little by massaging and stretching it. You can also visualize your head expanding from the inside out.
再照照镜子,注意一下嘴巴周围的空间。当你感到恼火或沮丧时,嘴巴周围的肌肉可能会收紧。为了缓解嘴巴和脸部周围的紧张,可以假装无聊。如果你假装非常无聊和无趣,你会感觉到嘴巴周围的紧张感消失了。
Look in the mirror again and notice the space around your mouth. When you’re annoyed or frustrated, the muscles around your mouth may tighten. To release the tension around your mouth and face, look bored. If you pretend to be really bored and dull, you’ll feel tension around your mouth release.
保持行走姿势对你的形象以及在行走或移动中唱歌的能力有很大影响。你可能真的需要边走边唱。教堂唱诗班一边走动一边唱歌,伴唱歌手一边跳舞一边跟着音乐起舞。如果你需要穿过舞台怎么办?你想在舞台上行走和落地唱歌的整个过程中都看起来光彩照人。
Maintaining your posture while you walk makes a big difference in your appearance and your ability to sing while walking or moving. You may actually have to sing while walking around the stage. Church choirs sing as they process, and backup singers groove to the music as they dance. What if you have to cross the stage? You want to look glorious for the entire time that you’re walking onstage and when you land in place to sing.
练习站立时找到身体的正位。然后走几步,落地时保持正位。落地时是否保持正位?低头看看双脚,看看它们是否与髋骨平行且距离相同。如果不是,再试一次:走一圈,然后保持正位落地。最终,你就能自信地保持正位落地,并知道你的身体已经准备好发出美妙的歌声了。
Practice finding your alignment when you’re standing still. Then walk a few steps and land in place. Did you land in the same alignment? Look down at your feet to see whether they’re parallel and the same distance as your hipbones. If not, try again: Walk around and then land in alignment. Eventually, you’ll confidently land in alignment and know that your body is ready for some fabulous singing.
你还需要在练习行走时,注意双腿承受的重量和压力。你需要感觉到你的体重均匀地分布在双腿和双脚上,并有浮力感。感觉你的体重下沉到双腿上会让你感觉更重。用力踩踏地板或人行道会让你感觉到双腿承受的压力和张力。当然,你需要把双脚与地面连接起来,但你也需要感受到一种开放的感觉,就像双脚触碰到地面一样。地板会让你的腿部和肌肉张开,而不是收缩和紧张。试着边走边用力踩地板,然后边走边想象你的身体就像弹簧一样,当你的双脚接触地板时,弹簧就会打开。
You also want to practice walking with an awareness of the weight and pressure on your legs. You want to feel the sensation that your weight is evenly distributed on your legs and feet and have a sense of buoyancy. Feeling your weight sink into your legs makes you feel much heavier. Pushing into the floor or pavement causes you to feel pressure and tension in your legs. Of course, you want to connect your feet to the floor, but you want to feel an opening sensation, as if your feet touching the floor causes your legs and muscles to open — not contract and tense. Try walking and pushing into the floor, and then walking and visualizing your body with springs that open when your feet connect with the floor.
轻松练习走路后,你就可以边走边唱歌了。给自己一些时间停下来,观察一下自己的姿势,确保唱歌时保持正确的姿势。你也可以赤脚练习,感受双脚与地面的接触。当你能感觉到呼吸时双脚与地面的接触时,就可以对比一下穿鞋时的感觉。
After practicing walking with ease, you can then practice walking and singing. Allow yourself time to stop and monitor your posture to make sure you’re staying aligned while singing a song. You can also practice without your shoes and feel the connection of your feet to the floor. After you can feel the opening of the feet into the floor when you breathe, you can then compare that sensation with shoes on.
唱歌跳舞也一样。练习本章描述的音准,然后尝试第四章中的一些呼吸练习。当你确信自己掌握了这些技巧后,可以尝试在唱歌和跳舞时结合这些技巧。即使你不会跳舞,也可以在唱歌时在房间里走动,感受紧张的歌声和身体保持平衡的歌声之间的区别。
The same applies for dancing and singing. Practice the alignment described in the chapter and then try out some of the breathing exercises in Chapter 4. When you feel confident that you have those skills solid, try combining those skills while singing and dancing. Even if you aren’t a dancer, move around the room while you’re singing to notice the difference between singing with tension and singing with your body aligned and balanced.
在舞台上展现自信至关重要,因为你想让自己的表演感觉良好,也希望观众在观看你的表演时感到舒适自在。观众通常会对那些表现出恐惧的表演者感到担忧。展现自信意味着找到理想的表演姿势,并在整个表演过程中保持这种姿势。
Projecting confidence onstage is important because you want to feel good about your performance and you want the audience to be comfortable watching you perform. Audiences are usually apprehensive about performers who project fear. Projecting confidence involves finding your ideal posture and maintaining it throughout a performance.
如果你保持着那种姿势和平静的表情,即使忘了歌词,很多人可能也不会注意到。我见过很多次:表演者在台上编歌词,但他看起来棒极了,仿佛是故意唱出来的。通过保持镇定和姿态,表演者向观众传达了一切都很好,并向他们保证不必担心,仿佛在说:“我一会儿再回头念歌词。”表演者也带着良好的感觉离开,因为他坚持了一条基本的歌唱规则:良好的姿势能提升歌唱的效果。
If you maintain that posture and a calm expression even if you forget the words to your song, many people probably won’t even notice. I’ve seen it many times: The performer is onstage making up the words, but he looks as terrific as if he’d intended to sing those words. By maintaining poise and posture, the performer projects to the audience that everything is fine and assures them that they needn’t worry, as if to say, “I’ll get back to the original words in a moment.” The performer also walks away feeling good because he stuck to a basic singing rule: Good posture enhances good singing.
为了探索正确的姿势如何展现自信,假装你是国王或王后。昂首阔步,仿佛你是这里的主人。注意你的姿势。现在假装你真的病了,浑身酸痛。统治者的举动和病人难道不一样吗?国王或王后也可能生病,但在这种情况下不会。国王走路时昂首阔步,举止庄重优雅,在房间里轻盈地走动。病人几乎站立不住,更别说展现自信了。在这种情况下,你是哪一种?你是姿态庄严的国王,还是驼背、与世隔绝?你可能介于两者之间。唱歌时,努力成为国王或王后。
To explore how correct posture exudes confidence, pretend that you’re a king or queen. Strut like you own the place. Notice your posture. Now pretend that you’re really sick and that your whole body aches. Doesn’t a ruler move differently than someone who is ill? It’s possible for a king or queen to be ill, but not in this scenario. A king walks tall, carries himself with great dignity and grace, and glides around the room. A sickly person can barely stand, much less project confidence. In this scenario, which one are you? Are you the king with a dignified posture, or are you stooped and closed off from the world? You’re probably somewhere in the middle. Strive to be the king or queen when you sing.
第四章
Chapter 4
本章内容
IN THIS CHAPTER
深入探讨呼吸控制的本质
Getting down to the brass tacks of breath control
吸气并扩张身体
Inhaling and expanding your body
呼气并延长呼吸
Exhaling and extending your breath
探索呼吸时身体如何运动
Discovering how your body moves while breathing
唱歌时如何控制呼吸会极大地改变你歌声的音色。如果你试图屏住呼吸唱歌,那是行不通的。而且,如果不使用空气——也就是不呼气——你就无法唱出响亮的乐句。大多数人认为呼气只与空气有关,与声音无关。唱歌时,呼气同时包含两者。虽然呼吸是自然的——你不必思考——但唱歌时,你需要训练你的身体以特定的方式呼吸,以便在整首歌中都能有效地呼吸。你肯定不想在一个词唱到一半就气喘吁吁。本章中的练习将帮助你掌握呼吸控制,以便你可以轻松地唱出你最喜欢的歌曲中的所有长乐句。
How you manage your breath when you sing can drastically change the sound of your singing voice. If you try to hold your breath and sing, it doesn’t work. You also can’t sing a loud phrase without using some air — that is, without exhaling. Most people think of exhaling as involving air, not sound. When you sing, exhaling encompasses both at the same time. Although breathing is natural — you don’t have to think about it — when you sing, you need to train your body to breathe in a certain way so that you breathe efficiently throughout an entire song. You don’t want to run out of breath in the middle of a word. The exercises in this chapter help you master breath control so you can sing through all those long phrases in your favorite songs with ease.
当你正常呼吸时,你会自然而然地浅吸一口气,均匀地呼出一口气,然后停顿片刻,再重新开始——你甚至不需要思考。另一方面,唱歌时,你不仅需要在唱出乐句时快速吸气、缓慢呼气,还需要保持正确的姿势。(有关姿势的更多信息,请参阅第三章。)这种呼吸方式能让你更好地控制呼吸,从而高效地唱歌。然而,因为控制呼吸并非天生就能做到,所以你需要训练你的身体来适应唱歌时的呼吸。继续阅读,了解呼吸的基础知识。
When you breathe normally, you automatically make a shallow inhalation and an even exhalation, followed by a pause before it all starts again — you don’t even need to think about it. On the other hand, when you sing, you need to not only inhale quickly and exhale slowly as you sing the phrases of a song, but also maintain proper posture. (See Chapter 3 for more information on posture.) Breathing in this manner gives you the breath control you need to sing efficiently. However, because controlled breathing doesn’t come naturally, you need to train your body to breathe for singing. Keep reading for the breathing basics.
学会唱歌时如何呼吸,最简单的方法就是去感受。能够想象并感受正确的呼吸方式,也能让你的唱歌过程更加自然。
The easiest way to find out how to breathe for singing is simply to feel it. Being able to visualize and feel the proper way to breathe makes the process more natural for you, too.
唱歌需要快速吸气——快速吸气——因为管弦乐队不可能等你五分钟才找到气息。了解吸气时身体的感觉有助于你快速吸气,以便唱出下一个乐句。使用以下练习来探索你自己的吸气,并感受吸气和呼气时身体需要如何运动。
Singing songs requires getting a full breath quickly — a quick inhalation — because the orchestra can’t wait five minutes for you to find the air. Knowing how your body feels when you inhale helps you quickly get air in your body so you can sing the next phrase. Use the following exercise to explore your own inhalation and get a feel for how your body needs to move when you inhale and exhale.
假装你见到了某个让你非常高兴的人。你惊讶地吸了一口气,感觉就像空气突然涌入你的身体。你也可以假装有人告诉你一些令人震惊的事情。
Pretend that you see someone you’re really happy to see. The surprise breath that you take feels like the air just rushed into your body. You can also pretend that someone told you something shocking.
你可能刚刚快速吸了一口气。唱歌时,快速地让肺部充满空气才是你想要的呼吸方式。阅读本章,你将学习如何打开身体,让吸气变得安静。
You probably just took a really quick breath. Quickly filling your lungs with air is the way you want to breathe when singing. As you read this chapter, you discover how to open your body so the breath intake is silent.
唱歌需要你控制呼气。你需要持续而流畅的呼气,这样你才能唱出那些高难度的高音和长而慢的乐句。
Singing requires you to control your exhalation. You want to have a sustained and smooth exhalation so you can sing those demanding high notes and long, slow phrases.
对于刚开始唱歌的人来说,呼吸可能会让人感到困惑,因为你必须同时关注很多事情。一些对唱歌略知一二的人也可能会告诉你另一种唱歌时的呼吸方法。一位朋友可能会说,他们的老师希望他们在唱歌或呼气时,让肌肉——侧腹、肋骨、背部——向外伸展;另一位朋友可能会告诉你,呼气时腹肌必须向内收。你会相信哪一种?两种说法都相信。
Breathing can be confusing for a singer who’s just starting out, because you have to pay attention to so many things at one time. Different people who know something about singing also may tell you about yet another breathing method to use for singing. One friend may say that their teacher wants them to leave the muscles out — sides, ribs, back — and distended as they sing or exhale; another friend may tell you that the abdominal muscles must move in when you exhale. Who do you believe? Both of them.
“内扣”或“外扣”不仅仅指你的肚脐,也指你的呼吸方式。这两种方法都有效;你只需要了解呼吸在你体内是如何运作的。以下是更多关于这两种方法的信息:
Being an “innie” or an “outie” doesn’t refer to just your belly button — it also refers to how you breathe. Both methods are valid; you just need to understand how breath works in your body. Here’s more info about each:
外展法要求歌手在呼气时注意保持肋骨或腹部向外。
对于许多歌手来说,外展法很有帮助,因为初学者很难防止肋骨和腹部在呼气时过快地向内收;想象腹部向外伸展可以帮助他们慢慢地向内收。腹部向内收后,一些歌手会挤压喉咙继续唱歌。你可以尝试一下外展法,看看在呼气时想象身体保持张开是否有助于减缓肋骨和腹部肌肉的运动并延长呼吸。
The outie method requires the singer to focus on keeping the ribs or abdomen out during exhalation.
For many singers, the outie method is helpful because beginners have a hard time preventing the ribs and abdomen from moving back in too quickly during exhalation; visualizing the abdomen staying out helps them slowly move back in. After their abdomen moves back in, some singers squeeze their throat to continue singing. You can explore the outie method to see whether imagining your body staying wide during exhalation helps you slow the movement of your ribs and abdominal muscles and extend your breath.
唱歌时有效的呼吸需要良好的姿势(参见第 3 章)以及熟练的吸气和呼气技巧。(请参阅本章后面的“练习吸气”和“练习呼气”部分。)记住良好姿势的重要性:它能让你深呼吸,充分呼吸。如果你弯腰驼背或身体僵硬,横膈膜就会锁死,阻碍你在唱歌时充分吸气。(更多详情,请参阅附近的侧边栏。)如果呼吸和姿势协调一致,就能提高你的歌唱水平。
Breathing efficiently when you sing is a combination of great posture (see Chapter 3) and skillful inhaling and exhaling. (See the sections, “Practicing Inhalation” and “Practicing Exhalation,” later in this chapter.) Remember the importance of good posture: It allows you to get a deep, full breath. If you slouch or you’re too rigid, your diaphragm locks and prevents you from getting a full breath for singing. (Refer to the nearby sidebar for more insight.) If your breathing and your posture work together as a team, you can improve your singing.
想要唱出最好的歌,你需要养成良好的呼吸姿势。当你的身体姿势正确时,呼吸和运用起来就会更容易。
To sing your best, you want to develop good posture while you breathe. When your body is aligned correctly, taking and using an efficient breath is easier.
唱歌时,你需要自信地吸气,然后有效地利用它唱歌。知道如何打开身体进行吸气,能让你轻松熟练地将空气吸入体内。吸气很简单:打开身体,空气就会涌入。继续阅读,了解一些练习和信息,帮助你掌握熟练的吸气技巧。
When you sing, you want to be confident that you can take in air and then use it efficiently to sing your song. Knowing how to open your body for inhalation allows you to get the breath in your body skillfully and with little effort. Inhaling is simple: Open your body, and the air comes rushing in. Read on for exercises and information to develop skillful inhalation technique.
快速安静地吸气是唱歌的目标之一。为了快速吸气,你需要打开你的身体——背部、肋骨、侧腹肌和腹肌。你可以同时打开所有这些部位,但在尝试同时激活它们之前,请先分别探索每个部位。
Taking in air quickly and quietly is one of the goals for singing. To get the air in quickly, you want to open your body — your back, ribs, sides, and abs. You can open all these areas at the same time, but explore each area separately before trying to activate them all together.
如果你认为背部或脊柱与肋骨相连,那么打开背部有助于呼吸就说得通了。你需要快速打开背部,让空气进入肺部。记住,肺部与肋骨相连,所以活动肋骨和背部会带动肺部。
If you think of your back or spine connected to your ribs, it makes sense that opening your back helps your breathing. You want to quickly open your back so air falls into your lungs. Remember that the lungs are connected to the ribs, so moving the ribs and the back moves the lungs.
找一把结实的椅子坐下,将手肘放在膝盖上。
在这个姿势中,你坐着,身体前倾,肘部放在弯曲的膝盖上,背部挺直。你不需要弯腰太远——只要能让背部放松就行。
Find a sturdy chair and sit with your elbows resting on your knees.
In this position, you sit and lean forward, with your elbows on your bent knees and your back straight. You don’t have to bend over far — only far enough to allow your back to relax.
将肘部放在膝盖上,吸一口气,想象将空气吸入背部——就好像您的肺部位于背部各处,您想让肺部充满空气一样。
您可能会注意到背部的肌肉感觉像是在抬起并打开,以便空气进入身体。
With your elbows on your knees, take a breath and imagine that you can put the air into your back — as if your lungs are all along your back and you want to fill them with air.
You may notice that the muscles in your back feel like they’re lifting and opening for the air to come in the body.
当您感觉到吸气时背部放松并打开时,请尝试更快地打开背部。
打开背部相同的肌肉,不用担心吸气。当你打开肌肉时,空气会进入你的身体,你不必担心吸气——吸气是因为你打开了肌肉。
When you think you feel your back releasing and opening as you inhale, try opening your back more quickly.
Open the same muscles along your back without worrying about inhalation. When you open the muscles, the air comes into your body and you don’t have to worry about inhalation — the inhalation happens because you’re opening the muscles.
你也可以蹲下,把手放在背上,感受肌肉的运动。如果你有练习伙伴,可以让他们把手放在你的背上,同时你尝试伸展背部。或者,你也可以让他们尝试同样的练习,感受他们的背部运动。感受别人身体的运动或许能帮助你了解自己的身体状况。
You can also squat down and place your hands on your back to feel the movement of the muscles. If you have a practice buddy, ask them to put their hands on your back as you try expanding your back. Or you can ask them to try the same exercise so you can feel how their back moves. Feeling the movement of someone else’s body may help you know what’s happening to yours.
如果坐在椅子上不舒服,可以尝试仰卧,弯曲膝盖,感受背部的打开。躺在地板上,吸气时感受背部沿着地板打开。注意背部上半部分、下半部分,一直到臀部的运动。
If sitting in the chair isn’t comfortable, try lying on your back with your knees bent to feel the opening of your back. Lie on the floor and feel the opening of your back along the floor as you inhale. Notice the movement of the upper part of your back and the lower part of your back, all the way down to your hips.
肋骨有12对肋骨。(没错,男性和女性的肋骨数量相同。)你可以在第三章中查看骨骼结构,发现前七对肋骨连接到胸骨,接下来的三对肋骨连接到第七根肋骨,从而形成肋骨前部的弧形。最后两对肋骨没有连接到肋骨前部;这些肋骨被称为浮肋。
The rib cage has 12 pairs of ribs. (Yes, men and women have the same number of ribs.) You can view the skeleton in Chapter 3 to see that the first seven pairs of ribs are connected to the sternum, and the next three ribs are connected to rib No. 7, to make the curved shape in the front of the rib cage. The last two ribs aren’t attached in the front of the rib cage; these ribs are called floating ribs.
你不必记住肋骨的数量,但要记住,肋骨上部在身体中从前向后运动更多,而下部肋骨的打开方向则更向外侧,也就是向身体侧面打开。了解肋骨的运动方式后,你就能想象肋骨下部附近的肋骨左右打开的样子。收紧肋骨,让尽可能多的空气快速进入身体。如果你是一名舞者,你想知道在舞台上跳舞时如何快速打开上肋骨和背部。
You don’t have to remember the number of ribs, but you want to remember that the top of your rib cage has more movement from front to back in your body and that the lower ribs open more laterally, or out to the side of your body. Knowing how your ribs move, you can visualize the side-to-side opening near the bottom of your ribs to get the most air into your body quickly. And if you’re a dancer, you want to know how to quickly open the upper ribs and your back when you’re dancing across the stage.
你可能会被要求边唱歌边跳舞。由于舞者唱歌时必须保持身体运动,所以他们无法总是放松腹部肌肉。但舞者可以在呼吸时打开肋骨。如果舞者在吸气时打开肋骨,在呼气时慢慢闭合,就不必太担心腹部肌肉的放松。当你了解了身体呼吸的原理后,可以更进一步,练习如何在唱歌时运用肋骨跳舞。
You may be asked to sing and dance at the same time. Because dancers have to keep their body moving while singing, they can’t always let their abdominal muscles release. But dancers can allow the ribs to open when breathing. If a dancer allows their ribs to open upon inhalation and slowly lets them close upon exhalation, they don’t have to worry so much about letting the abdominal muscles be loose. When you understand the way the body was designed to breathe, take it a step further and practice working with your ribs for dancing while singing.
在以下练习中移动你的手臂,这样你就能感觉到胸部和肋骨的打开:
Move your arms in the following exercise so that you can feel the opening of your chest and ribs:
深吸一口气,感受肋骨打开。
保持胸部稳定。无需抬起胸部,只需让它打开即可。重复几次,感受肋骨的运动。
Take a breath and feel your ribs open.
Keep your chest stable. You don’t need to raise your chest; merely let it open. Repeat several times to feel the movement of your ribs.
放下手臂并将手放在肋骨上。
将手掌放在下肋骨上,拇指朝前,其他手指指向后方。为了感受肋骨上方的运动,可以将手掌也转向相同的方向,拇指朝前,或者交叉双臂,右手放在左肋骨上,左手放在右肋骨上。
Put your arms down and place your hands on your ribs.
Place your palms against your lower ribs with your thumb facing forward and fingers pointing to your back. To feel the movement higher in your rib cage, turn your hand the same way with the thumb facing forward, or cross your arms so that your right hand is on your left ribs and your left hand is on your right ribs.
将手放在肋骨上,慢慢打开肋骨,感受肋间肌(肋骨之间的肌肉)的拉伸。
重复几次。
With your hands on your ribs, open the ribs slowly to feel the stretch of the intercostals — the muscles between the ribs.
Repeat several times.
如果将手臂举过头顶不舒服,可以侧卧。将手臂举过头顶是理想的姿势,但将手臂弯曲至肘部或向前伸展也能获得同样的肋骨运动感。其他可以尝试的姿势是站立,将手臂伸直并放在身体两侧。将手臂稍微放在身体后方,这样胸部就会打开。在这个姿势下,您可能会特别感觉到上部肋骨的打开。当您的手臂感到疲劳时,可以双手放在臀部,继续探索肋骨的打开方式。您可以将双手放在臀部上方练习,以提醒自己打开身体两侧和肋骨。当您熟悉了打开方式后,可以放下手臂放在身体两侧,找到相同的打开方式。
If raising your arms over your head isn’t comfortable, you can lie on your side. Putting your arms above your head is ideal, but you can get the same sense of movement in the ribs with your arm bent at the elbow or extended in front of you. Other positions you can try are standing with your arms extended straight out on each side. Position the arms just slightly behind your body so your chest is open. In this position, you may especially feel the opening of the upper ribs. When your arms tire, you can put your hands on your hips and continue exploring the opening of the ribs. You can practice with your hands just above your hips to remind you to open your sides and ribs. When the opening is familiar, you can put your arms down by your side and find the same opening.
身体的另一个可以打开吸气的部位是身体两侧。现在,先将肋骨和身体两侧分开想象。两侧是腰间赘肉区域——位于胸腔正下方、臀部上方的区域——腹斜肌。打开肋骨时,这个区域可能会自动打开,但你需要确保打开。
Another area of the body that you can open for inhalation is your sides. For now, think of your ribs and your sides as separate. The sides are the love handle area — the area right below your rib cage and above your hips — the oblique muscles. This area may automatically open when you open the ribs, but you want to be sure.
将双手放在臀部,然后向上移动几英寸,这样您就可以感觉到髋骨上方的凹痕。
Place your hands on your hips and then move them up a couple of inches so that you feel the indentation just above the top of the hipbone.
假设你的肺就在髋骨上方。为了帮助打开这个区域,呼气,然后吸气,让手下的区域扩张。你可能需要用手施加一点阻力,这样你才能弄清楚如何打开这些肌肉。
Pretend that your lungs are just above your hip bones. To help open that area, exhale, and then inhale allowing the area under your hands to expand. You may need to provide a little resistance with your hands so you can figure out how to open those muscles.
身体两侧是感受身体用力的最佳部位。咳嗽时,你可能会感觉到腹肌内收,身体两侧扩张。唱歌时的动作类似,但速度更慢。大声唱歌时,身体两侧也会参与。现在,注意身体两侧的运动;稍后,当你需要用力唱歌时,可以移动身体两侧。
Your sides are a great place to notice exertion in the body. When you cough, you may feel your abs move in and your sides expand. The movement for singing is similar but happens more slowly. The sides also engage when you sing loudly. For now, be aware of how your sides move; later, you can move your sides when you need an exertion of energy to sing loudly.
清晰的音色唱歌比气息声调唱歌耗气少。有关清晰音色唱歌的更多信息,请参阅第六章。你可以故意用气息声调唱歌,但这需要更多的气,而且麦克风也更难放大模糊的音色。
Singing with a clear tone doesn’t use as much air as singing with a breathy tone. See Chapter 6 for more information on singing with clear tone. You can sing with a breathy tone on purpose, but it requires a lot more air, and it’s more difficult for a microphone to amplify a fuzzy tone.
许多歌唱老师非常重视腹肌的运动和歌唱。你可能被告知要控制腹肌来控制呼气。这个想法很好,但你也需要控制躯干的其他肌肉,因为腹肌并不是唯一控制呼气的肌肉。
Many singing teachers feel strongly about the movement of the abdominal muscles (abs) and singing. You may have been told to control your abs to control your exhalation. That idea is a good one, but you also want to control the other muscles in your torso, because the abs aren’t the only muscles that control exhalation.
以下练习让您有机会让呼吸进入您的身体,释放腹肌。
The following exercise enables you the opportunity to let breath fall into your body, releasing the abs.
呼气。
当你呼气时,你的腹肌就会向内移动。
Exhale.
As you exhale, your abs move in.
屏住呼吸,默默地数到十。
数到十的时候不要吸气。
Hold your breath and silently count to ten.
Don’t inhale while you’re counting to ten.
数到十后,吸气。
最有可能的是,你非常需要呼吸,以至于呼吸刚好进入你的身体,你的腹肌就会放松并下垂。
After counting to ten, inhale.
Most likely, you need the breath so badly that it just falls right into your body, and your abs release and drop.
当空气涌入时,注意身体的运动。
你的喉咙打开,腹肌放松,这样空气就可以进入。
Notice the movement of your body as the air comes rushing in.
Your throat opens and your abs release so the air can drop in.
在演奏一长段乐句时将所有空气呼出后,打开身体,让所需的空气进入肺部。
After expelling all your air on a long musical phrase, let the air that you need just drop into your lungs by opening your body.
吸气的目标是快速打开身体,让空气静静地吸入。如果你的肌肉不知道如何快速打开,可以放慢速度进行这项练习,找到打开肌肉的方法。
The goal for inhalation is to open the body quickly so the air drops in quietly. If your muscles don’t know how to open quickly, you can slow down with this exercise and find how to open the muscles.
你小时候妈妈肯定跟你说过不要用吸管吸空气,对吧?因为吸管会发出那种难听的吸吮声,把杯子里的液体全部吸干。现在你需要一根干吸管,里面不能粘着任何奶昔。用吸管呼吸可以帮助你吸入的空气进入体内,让你更容易感觉到身体在呼吸时膨胀。而且用吸管吸气时,你也不会喘气或吸得太快。
When you were a kid, your mom probably told you not to suck air through your straw, right? It makes that horrible slurping noise after all the liquid is drained from your glass. Now you need a dry straw that doesn’t have any leftover milkshake stuck inside. Breathing through a straw helps the air that you breathe drop into your body, making it easy to feel your body expand as you breathe. You also can’t gasp or suck in air too quickly with a straw.
只需按照以下步骤减慢呼吸:
Just follow these steps to slow down your breathing:
慢慢吸气三秒,慢慢呼气三秒。
重复此步骤五次。记住保持身体对齐。第三章提供了一些保持身体对齐的技巧。
Inhale for three slow counts and exhale for three slow counts.
Repeat this step five times. Remember to keep your alignment. Chapter 3 has tips for great alignment.
慢慢吸气四次,慢慢呼气四次。
吸气时,注意身体的运动。你需要肋骨打开,身体两侧和背部扩张,腹肌放松下垂。如果动作仍然不稳定,请继续练习,直到你真正感受到身体的运动。可能需要几周时间才能充分感受到这种运动,并逐渐熟悉。
Inhale for four slow counts and exhale for four slow counts.
As you inhale, notice what’s moving in your body. You want your ribs to open, your sides and back to expand, and your abs to release and drop. If the motion is still unsteady, keep practicing until you really feel the movement in your body. It may take a couple of weeks to feel the movement enough that it becomes familiar.
你的歌曲可能包含一个较长的乐句,然后是一段很短的休止符,用来喘口气。难点在于如何在短时间内吸进足够的空气。要了解如何在歌曲中快速吸气,你需要知道如何快速打开肌肉。如果你在前面的练习中缓慢地打开了肌肉,那么你可能已经准备好快速打开它们了。试试这个练习,探索如何快速吸气。
Your song may have a long phrase and then a very short rest to catch a breath. The struggle is to get in enough air in a short time. To understand how to catch a quick breath in your song, you want to know how to quickly open your muscles. If you opened the muscles slowly in the preceding exercise, you may be ready to open them quickly. Try this exercise to explore a catch breath.
通过原地跑步、跳舞或任何其他能让你动起来的动作,让自己稍微喘口气。当你开始呼吸加快并感到气喘吁吁时,站起来唱一段歌。你的身体真的想要吸气。当你终于吸气时,注意气息是如何快速进入体内的。大多数人描述的感觉是身体快速打开以吸入空气。这与吸气或喘气不同。喘气时,你的喉咙收紧,你在吸入或吸入空气。打开身体(包括喉咙)可以帮助你快速而安静地吸气。
Get yourself slightly winded by running in place, dancing around, or doing any other movement that gets you moving. When you start to breathe faster and get winded, stand and sing part of your song. Your body really wants to inhale. When you finally take a breath, notice how the breath drops quickly into your body. Most people describe the sensation of the body opening quickly to get air in. It’s different from pulling in air or gasping. With a gasp, your throat is tight and you’re pulling or sucking in air. Opening the body (including your throat) helps you make a quick and quiet inhalation.
现在你应该很容易就能有效地吸气了。唱《生日快乐歌》可以测试你正确吸气然后唱歌的能力。在开始唱歌之前,感受一下呼吸进入你的身体。当你进入状态时,就尽情地吸气吧。
Inhaling efficiently should now be fairly easy for you. Singing “Happy Birthday” tests your ability to inhale correctly and then sing a song. Before you start the song, feel the breath moving into your body. When you’re in the groove, go for it.
暂停。
在唱第二乐句之前,回想一下你最近学到的关于吸气的知识。慢慢来,找到最有效、最理想的吸气姿势。不必着急。
Pause.
Before you sing the second phrase, remember all that you recently discovered about inhalation. Take your time and find the efficient and ideal posture to take in that inhalation. You don’t have to rush.
重复这一系列步骤直到完成整首歌曲。
记住要正确呼吸,而不是急于唱下一个乐句或者大口喘气。
Repeat this series of steps until you finish the song.
Remember to get the breath right instead of rushing to the next phrase or gasping for air.
每次尝试这个练习,你都会觉得更容易。下次唱新歌的时候,不妨试试这个练习,这样可以更好地协调你的呼吸。
Each time you try this exercise, it gets easier. Try it the next time you sing a new song to coordinate your breathing properly.
唱歌呼气时,记住不要让身体下垂得太快。保持与吸气时相同的姿势:保持胸部稳定,并在呼气时让腹部和肋骨逐渐向内收。当你不唱歌或说话,或者在日常生活中,你通常比唱歌时呼气的速度快得多。然而,唱歌时,你必须快速吸气,并延长气流的时间。要能够唱出长乐句而不在中间停下来换气,这需要练习。练习稳定、可控的呼气,同时保持良好的姿势。
When you sing and exhale, remember not to collapse your body too quickly. Keep the same aligned position that you had for your inhalation: Keep your chest steady, and have your abdomen and ribs gradually move inward as you release the breath. When you aren’t singing or speaking, and as you go about your everyday business, you normally exhale much more quickly than you should when you sing. When you sing, however, you have to inhale quickly and extend the flow of air over a longer period of time. It takes practice to be able to sing a long phrase without stopping in the middle to breathe. Practice a steady, controlled exhalation while maintaining good posture.
这个练习能帮助你培养唱长乐句时所需的控制力。练习的目标是通过呼气而不是将热蜡喷到手上来让蜡烛火焰闪烁!确保你呼出的气流稳定、缓慢——足以弯曲火焰即可。如果你手边没有蜡烛,你可以对着一杯热可可或热茶的顶部吹气,或者直接发挥你的想象力。你可以运用想象力进行这个练习,或者直接点燃一根蜡烛。
This exercise helps you develop the control needed when you sing a long phrase of music. The object of the exercise is to make a candle flame flicker by exhaling and not blasting hot wax onto your hand! Make sure that you exhale with a steady, slow stream of air — just enough to bend the flame. If you don’t have a candle handy, you can blow air across the top of a hot cup of cocoa or tea, or just use your imagination. You can work this exercise with your imagination, or you can actually light a candle.
请按照以下步骤操作:
Follow these steps:
在这个练习中,注意呼气时身体不要快速塌陷。相反,在呼气时,要感受身体的稳定运动。如果你第一次能数到五,下次试着数到六。在尝试数到七之前,先连续数几次,每次都数到六。每次都要确保你注意到身体的变化。
Be careful that your body doesn’t collapse quickly as you exhale during this exercise. Instead, feel a steady movement in your body during the exhalation. If you can bend the flame for the count of five the first time, try to make it to six the next time. Bend the flame for six counts several times in a row before you try for seven. Each time, make sure that you notice what’s happening in your body.
唇颤音是一种会让人发痒的练习,但它非常适合感受呼气的运动。嘴唇的振动可能会在几分钟后让你的鼻子发痒。没问题——挠挠鼻子继续。什么是唇颤音?你见过马用嘴唇吹气吗?马的嘴唇在微风中拍打。这可能看起来很傻,但这是对你的呼气耐力的一个很好的考验。吸一口气,把气送到你的嘴唇之间,让它们振动。如果你的嘴唇没有像艾德先生的一样振动,那可能是因为它们太紧了。这次放松嘴唇,让它们自然下垂,同时在嘴唇之间吹气。如果你的嘴唇紧绷,就在做唇颤音时将一根手指放在嘴角,轻轻地将嘴角推向鼻子。
A lip trill is an itchy exercise, but it’s great for feeling the movement of the exhalation. The vibrations of your lips may make your nose itch after a few minutes. No problem — scratch your nose and keep going. What’s a lip trill? Ever see a horse blowing air through his lips? The horse’s lips flap in the breeze. This may seem silly, but it’s a great test of your exhaling endurance. Take a breath, and send the breath between your lips and let them vibrate. If your lips don’t vibrate like Mr. Ed’s, it’s probably because they’re too tight. Loosen your lips and just let them hang free as you blow air between them this time. If your lips are tight, place a finger at the corners of your mouth and gently push the corners toward your nose as you do the lip trill.
保持唇颤音四次;缓慢吸气四次,然后重复该循环。
开始之前,一定要深呼吸。数到四的时候,注意呼气时身体的运动。呼气时尽量不要让胸部塌陷;让下半身来带动空气。
Sustain the lip trill for four counts; inhale slowly for four counts and repeat the cycle.
Make sure that you take a good breath before you begin. As you count to four, notice what moves in your body as you exhale. Try not to collapse your chest as you exhale; let your lower body do the work to move the air.
随着耐力的提高,唇颤音可以维持更长时间。
唇颤音六拍,吸气两拍。当你能轻松地连续做几次唇颤音时,就把次数增加两拍(唇颤音八拍)数到50,吸气数到2,以此类推)。练习的目的不是数到50,而是锻炼呼吸的耐力,确保呼气时身体有效地运作。
Sustain the lip trill for longer periods of time as your endurance improves.
Lip trill for six counts and inhale for two counts. When you can easily do the lip trill several times in a row, increase the number by two counts (lip trill for eight counts, inhale for two counts, and so on). The object of the exercise isn’t to count to 50, but to work the endurance of the breath and make sure that the body is working efficiently as you exhale.
随着技能的提高,唇颤音的数量也会随之改变。
注意一下,两拍颤音和八拍颤音时你的身体变化是怎样的。它会通过在八拍时放慢速度来调整。这种变化在歌曲中很常见——短乐句之后是长乐句,你需要根据乐句调整呼吸控制。
As your skill increases, vary the lip trill count.
Notice how your body changes on a two-count trill compared to an eight-count trill. It adjusts by moving more slowly on the eight counts. This variation happens in songs — you have short phrases followed by long phrases, and you have to adjust your breath control for the phrase.
如果你已经熟练掌握唇颤音,那就加个旋律:用唇颤音哼唱一首歌。你可以轻松地用唇颤音哼唱“生日快乐”。让每个音符衔接起来,中间不要停顿,也不要用舌头抵着牙齿。换句话说,要连贯(流畅连贯)。
When the lip trill is a piece of cake for you, add a tune: Lip trill a song. You can easily lip trill “Happy Birthday.” Let each note connect to the other without a pause and without pushing your tongue against your teeth for each note. In other words, make it legato (smooth and connected).
再次播放该曲目,这次尝试舌颤音。
很多人发现,舌颤音能发出好听的声音。舌颤音的原理类似于唇颤音。将舌头放松地含在嘴里,然后在舌头和上颚之间吹气。确保舌头完全放松,否则会失效。当气流经过舌头时,舌尖会抬起并振动,抵住上颚。
Play the track again, and this time, try a tongue trill.
Many people find that they can make good sounds with a tongue trill. The tongue trill works like the lip trill. Leave your tongue loose in your mouth and blow air between your tongue and the roof of your mouth. Make sure that your tongue is released or this won’t work. As the air moves over the tongue, the tip of the tongue raises and vibrates against the roof of your mouth.
第三次播放该曲目,交替进行舌颤音和给定音符的演唱。
你可以轻松地从舌颤音直接过渡到元音。例如,用舌颤音唱出前两个音符,用“啊”唱出后两个音符。确保从舌颤音到“啊”的过渡流畅。看看你的气流是否保持不变。
Play the track for a third time, alternating between doing the tongue trill and singing on the given notes.
You can easily go right from the tongue trill to a vowel. For example, sing the first two notes on the tongue trill and the last two notes on ah. Make a smooth transition from the tongue trill to the ah. See whether your airflow remains the same.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 4-1:唇音和舌音颤音。
FIGURE 4-1: Lip and tongue trills.
歌手们常常以为自己可以控制横膈膜的运动,从而很好地控制呼吸。但大多数人不知道的是,横膈膜在呼气时是被动的。当你吸气和肺部扩张充满空气时,横膈膜会向下移动,但呼气时横膈膜不会主动。你通过控制所有影响肺部运动的肌肉来控制呼气——肋骨之间的肌肉(肋间肌)、身体两侧(腹斜肌)和背部的肌肉以及腹肌。了解如何控制这些肌肉的运动可以控制你的呼气,并让你能够唱出长乐句。有关更多信息,请参阅本章前面的“掌握呼吸基础知识”部分。
Singers often think that they can control their diaphragm movement and achieve great breath control. What most people don’t know is that the diaphragm is passive during exhalation. Your diaphragm moves down as you inhale and as your lungs expand to fill with air, but the diaphragm isn’t active when you exhale. You control exhalation by controlling all the muscles that affect the movement of the lungs — the muscles between the ribs (intercostals), the muscles on your sides (obliques) and your back, and your abs. Knowing how to control the movement of these muscles controls your exhalation and allows you to sing long phrases. Refer to the section, “Tackling the Basics of Breathing,” earlier in this chapter for more information.
探索呼气和阻力的一种方法是暂停呼吸。如果你身体的正常运动是吸气然后逐渐呼气,或者让身体回到静止位置,我希望你尝试一下吸气,然后等待再呼气。感觉就像你的身体悬空了:你准备好呼气了,但肌肉还没有动。这种悬空的感觉就是我所说的阻力。
One way to explore exhalation and resistance is to suspend the breath. If the normal movement of your body is to take a breath and gradually exhale, or allow the body to move back to its resting position, I want you to explore taking a breath and then waiting before you exhale. It feels like your body is suspended in motion: You’re ready to exhale, but the muscles just aren’t moving yet. This feeling of suspension is what I mean by resistance.
你的身体想要闭合,但你还不允许它崩溃。抵抗并非紧张,更像是犹豫。注意你吸气时身体保持打开的感觉,然后等待。你可以练习暂停三到四秒,然后逐渐呼气。目标不是弄清楚如何长时间暂停,而是理解身体在吸气后抵抗正常闭合冲动的感觉。
Your body wants to close, but you aren’t allowing it to collapse just yet. Resistance doesn’t involve tension; it’s more like hesitation. Notice the feeling of your body staying open as you take the breath and then wait. You can practice suspending for three or four counts and then gradually exhale. The goal isn’t to figure out how to suspend for long periods of time, but to understand the sensation of the body resisting the normal urge to close after an inhalation.
尝试以下顺序来提高暂停呼气肌肉的能力:
Try this sequence to develop your ability to suspend the muscles of exhalation:
因三项罪名被停赛。
当你暂停的时候,注意你身体的感觉。你的身体想要闭合,但你选择暂停并保持开放。
Suspend for three counts.
As you suspend, pay attention to the sensations in your body. Your body wants to close, but you make the choice to suspend and stay open.
逐渐增加呼气次数。
吸气三秒,暂停三秒,呼气四秒。注意你的身体如何适应较慢的呼气速度。
Gradually move the exhalation number higher.
Inhale for three counts, suspend for three counts, and exhale for four counts. Notice how your body adjusts to the slower exhalation.
你可以一次呼气,也可以十次呼气,身体会调整肌肉的运动。今天,我建议你尝试每个步骤三次呼气。明天你可以将呼气次数增加到四次,后天可以增加到五次。慢慢探索这个练习,以增强对肌肉的控制力。动作太快,你无法体验到随着呼气时间延长,身体的调整感。本章的下一节将有更多练习,探索更长的呼气时间。
You can exhale in one count or in ten counts, and the body adjusts the movement of the muscles. For today, I recommend that you try the sequence with three counts for each step. Tomorrow you can move the exhalation up to four counts, and the next day move the exhalation to five counts. Explore this exercise slowly to develop control over the muscles. Moving too quickly doesn’t allow you to explore the sensations of adjustment in your body as the exhalation gets longer. The next section in the chapter has more exercises that explore longer exhalation.
如果您一直在进行本章中的练习,那么您可能已经充分探索了您的吸气和呼气,以了解您在呼吸和唱歌时的动作和节奏。
If you’ve been working on the exercises in this chapter, you’ve probably explored your inhalation and exhalation enough to know what’s moving and grooving as you breathe and sing.
运动员们都知道,他们必须持续训练,才能让身体里的肌肉按照他们想要的方式做出反应。获得控制呼吸的肌肉的协调性需要时间和持续的练习。有些人称之为培养肌肉记忆。随着时间的推移,肌肉会记住如何运动,你无需费心思考。你希望呼吸和唱歌也能如此:你需要充分练习呼吸练习,确保它们能够有效地发挥作用,这样你就能专注于你正在讲述的故事。
Athletes know that they have to train consistently to teach the muscles in their body to respond exactly the way they want. Gaining coordination of the muscles that control breathing takes time and consistent practice. Some people call it developing muscle memory. Over time, the muscles remember how to move and you don’t have to think about it. You want this to happen for breathing and singing: You want to practice the breathing exercises enough that you can rely on them to work efficiently so you can focus on the story you’re telling.
运动员也知道,锻炼和体能训练对于培养快速输送氧气到全身的能力至关重要。唱歌时,你会大量呼吸,你的身体需要保持良好的状态,这样才能承受整场演唱所需的耐力。你不必很瘦,但必须保持良好的体型。在健身房锻炼也有助于你唱歌时的呼吸。
Athletes also know that working out and doing physical conditioning is crucial for developing the ability to transport oxygen quickly throughout the body. When you’re singing, you’re moving a lot of air, and your body needs to be in good shape so you can handle the endurance required to sing for an entire performance. You don’t have to be thin, but you have to be in good shape. Your workout at the gym also helps your breathing for singing.
稍微突破自己的舒适区有助于提升耐力和耐久力。进行呼吸练习后,你的肌肉可能会感到发热或疲劳,这完全正常。极度疲劳表明你的练习过程中出现了问题,但感到疲劳并需要休息一段时间才能继续练习也是正常的。
Pushing yourself just a little beyond your comfort zone helps you develop stamina and endurance. Your muscles may feel warm or tired after you work on the breathing exercises, which is perfectly normal. Extreme fatigue is a sign that something isn’t right in your practice session, but it’s normal to feel tired and need to rest for a time before you can practice more.
为了给自己一个机会进行更高级的呼吸练习,请继续阅读并完成这些练习。这些练习对你来说并不算太难,尤其是如果你已经尝试过其他练习,并且对呼吸动作很熟悉的话。
To give yourself an opportunity to work on more advanced breathing exercises, keep reading and working through the exercises. They aren’t too advanced for you, especially if you’ve been exploring other exercises and are comfortable with what moves as you breathe.
由于肺部位于肋骨内,因此吸气时让肋骨打开,呼气时保持打开状态对肺部有益。这也被称为向外呼吸,或appoggio(意大利语,意为“支撑”或“倾斜”)。不要强迫肋骨保持打开状态,而是让它们保持打开状态。“强迫”和“允许”这两个词虽然看起来很相似,但它们是不同的。强迫肋骨保持打开状态会给身体带来压力,并发出紧绷的声音。
Because your lungs are housed within your rib cage, allowing the ribs to open as you inhale and letting them stay open as you exhale is beneficial. This is also known as outie breathing, or appoggio (that’s Italian for “support” or “lean”). Don’t force your ribs to stay open, but allow them to stay open. Even if the words force and allow seem similar, they’re different. Forcing the ribs to stay open results in pressure being put on your body and a tight sound.
当您练习呼吸一段时间后,您可以轻松地进行快速、有效的吸气,并可以控制较长的呼气,然后尝试下面的练习。
When you’ve been working with breath for some time and you can easily manage quick, efficient inhalation and have some control over longer exhalation, try the exercise that follows.
练习弯曲张开肋骨。
站在镜子前,试着打开你的肋骨。你需要打开身体侧面的肋骨,而不是抬起胸部。观察身体的动作,确保你没有抬起胸部。你可能需要尝试几次才能弄清楚如何打开肋骨。当你知道如何移动它们时,吸气时让肋骨打开。你想要移动的区域位于肋骨的底部。
Practice flexing open your ribs.
Stand in front of the mirror and try to open your rib cage. You want to open your ribs on the side of your body, not raise your chest. Watch the movement in your body to make sure that you’re not lifting your chest. It may take a few tries before you can figure out how to open the ribs. When you know how to move them, allow the ribs to open as you inhale. The area that you’re trying to move is at the bottom of the rib cage.
吸气并打开肋骨。
练习吸气,让肋骨打开。如果将空气对准最下方的肋骨,就能打开肋骨,而无需强迫胸部抬起。
Inhale and open your ribs.
Practice inhaling and allow your ribs to open. If you aim the air at the lowest rib, you can open the ribs without forcing your chest to rise.
练习一段时间,让肋骨在吸气时打开,在呼气时闭合。
当这变得更容易时,让肋骨在呼气时保持更长时间的打开。
Work for a time just allowing your ribs to open when you inhale and to close as you exhale.
As this becomes easier, allow the ribs to stay open longer on the exhalation.
吸气并让肋骨打开。
呼气时保持肋骨打开。下次吸气时,让腹部肌肉扩张。
Inhale and allow your ribs to open.
Leave the ribs open as you exhale. Take the next breath and allow your abdominal muscles to expand.
现在你的肋骨已经打开,腹部肌肉已经扩张,呼气。
呼气时,让腹肌向内移动,肋骨向外伸展。
Now that your ribs are open and your abdominal muscles are expanded, exhale.
As you exhale, allow the abs to move in as the ribs stay out.
这项练习的长期目标是让你能够根据所唱乐句的长度,选择在吸气时打开或关闭肋骨。如果我必须唱长乐句,我会保持肋骨打开。这个动作可能需要一个月或更长时间才能掌握。继续尝试吧。
The long-term goal of this exercise is to provide you with the option of opening the ribs as you inhale and letting them close by choice, depending on the length of the phrase you’re singing. I keep my ribs open if I have to sing a long phrase. This motion may take a month or more to master. Keep trying.
在本章前面,我推荐一些简单的曲子,比如《生日快乐》,这样你就能轻松地同时集中注意力于许多细节。然而,你或许已经准备好尝试一首难度更高的歌曲了。想想哪首歌在处理长乐句方面让你感到困难。它可以是一首赞美诗,也可以是一首你熟悉的旋律,而你就是无法完全掌握其中的乐句。一些熟悉的长乐句歌曲包括《丹尼男孩》;《弥赛亚》中的《来到他面前》 ;以及《飞越彩虹》。
Earlier in this chapter, I suggest simple tunes, such as “Happy Birthday,” so that you can easily concentrate on many details at one time. However, you may be ready to try a tougher song. Think of a song that gives you trouble when it comes to managing the long phrases. It can be a hymn or familiar tune in which you just can’t quite conquer the phrases. Some familiar tunes with long phrases are “Danny Boy”; “Come Unto Him” from The Messiah; and “Over the Rainbow.”
练习下面的练习以进入下一级别的呼吸控制,以便您可以在较长的乐句中轻松控制呼吸。
Practice the exercise that follows to move on to the next level of breath control so that you can manage your breath easily during longer phrases.
慢慢地唱这首歌。
如果你选择的歌曲较长,就唱一部分。如果你选择的歌曲较短,就从头到尾唱一遍。
Sing the song slowly.
If you’ve chosen a long song, sing through part of it. If you’ve chosen a shorter song, sing it all the way through.
唱完每个乐句时,要保持一致的呼气,以形成流畅、连贯的旋律。
确保在每个乐句开始前缓慢吸气。
Sing through each phrase with a consistent exhalation for a smooth, connected line.
Make sure that you inhale slowly before the beginning of each phrase.
呼气时,肋骨和腹肌必须用内收法收紧。然后尝试让腹肌运动,肋骨保持打开,也就是外收法。
In exhaling, your ribs and abs must be moving in using the innie method. Then try letting the abs move while the ribs stay open, the outie method.
第五章
Chapter 5
本章内容
IN THIS CHAPTER
改变你的语调
Changing the tone of your voice
发现你的喉部和声带
Discovering your larynx and vocal cords
通过锻炼来改善你的语气
Exercising to improve your tone
在本章中,你将学习如何释放音色,从而创造出美妙的音色——甚至还能在此过程中找到一些颤音(持续音高的变化)。我还为那些五音不全(无法准确区分音高差异)的人准备了一些实用的练习。放松一下。读完本章后,你不仅能更好地控制自己的歌声,还能找到一些有趣的身体部位,在下次家庭聚会上炫耀一番。“嘿,想摸摸我的喉咙吗?”
In this chapter, you discover what to release to help you create that gorgeous tone — and even find a little vibrato (the variation of a sustained pitch) along the way. I also include some helpful exercises for those of you who are tone deaf (not able to accurately distinguish between differences in pitch). Relax. By the time you finish this chapter, you’ll be better at not only controlling your singing voice, but also locating some fun body parts to brag about at your next family gathering. “Hey, wanna feel my larynx?”
如果你打开收音机,你能认出你最喜欢的歌手吗?猫王、史提夫·旺德、安立奎·伊格莱西亚斯、秀美·乔、麦克斯韦尔、卢恰诺·帕瓦罗蒂,还是Lady Gaga?你很可能认出来。怎么认出来的?如果你回答“通过他们的声音”,你部分正确。更具体地说,你是通过他们的声调来识别你最喜欢的歌手的。声调指的是你歌声的色彩或音色。每个人的声音都有特定的音色,可以描述为温暖、低沉、明亮或尖锐。两个歌手用同一个调演唱同一首歌,听起来可能不同——原因就在于声调。
If you turned on the radio, would you recognize your favorite singer? Elvis, Stevie Wonder, Enrique Iglesias, Sumi Jo, Maxwell, Luciano Pavarotti, or Lady Gaga? You probably would. How? If you answered, “By their voices,” you’re partly right. More specifically, you recognized your favorite singer by the tone of voice. Tone is what’s known as the color or timbre of your singing voice. Every voice has a specific timbre, which can be described as warm, dark, bright or strident. Two singers singing the same song in the same key may sound different — the reason is tone.
很多人张开嘴就能唱歌,发出美妙的音色。而另一些人则需要付出努力才能创造出美妙的音色。你的嗓音是独一无二的,但如果你的嗓音紧绷绷的,你可能需要做本书中的练习来帮助你创造出完美的嗓音。你还需要确保你的嗓音与你演唱的音乐风格相匹配。如果你听过歌剧演员尝试演唱流行音乐,你就会知道他们的声音听起来很滑稽——他们的嗓音太饱满、太丰富,而实际上应该更随意一些。请参阅第二章,了解更多关于不同嗓音类型在不同音乐风格中发出的声音的信息;阅读第七章,了解更多关于如何打造洪亮歌唱嗓音以及理解不同音乐风格之间共鸣差异的信息。
A lot of people just open their mouth to sing and produce wonderful-sounding tone. Others have to work to create beautiful tone. The tone of your voice is unique to you, but if it’s tight and pressed, you may need to work on the exercises in this book to help you create great tone. You also want to make sure that the tone of your voice matches the style of music you’re singing. If you’ve ever heard opera singers try to sing pop music, you know that they sound funny — their tone is too full and rich when it needs to be more casual. Check out Chapter 2 for more information on the sounds different voice types make in different styles of music, and read Chapter 7 for more information about creating a resonant singing voice and understanding the differences in resonance among various styles of music.
你的体型、大小以及身体协调性在一定程度上决定了你的语气。此外,你的语气会随着你的情绪或情感而变化。请查看以下列表,了解影响语气的因素:
The shape and size of your body and your body coordination partly determine your tone. In addition, your tone changes with your moods or emotions. Check out the following list for factors that affect tone:
无论你只是自娱自乐地唱歌,还是梦想着成为职业歌手,你都会经常遇到三个术语:音高、音符和音色。这三个术语经常被错误地混用,但了解它们之间的真正关系,或许能让你在歌唱的道路上更加轻松自在。
Whether you sing just for fun or you dream of performing professionally, you can count on frequently encountering three terms: pitch, note, and tone. These three terms are often incorrectly used interchangeably, but understanding their true relationship to one another may make your journey through the world of singing less confusing.
根据这些定义,说某人“音高盲”比“音色盲”更合理。你可能还会听到歌手说他们害怕唱高音,而实际上他们应该说“害怕唱高音”。虽然了解这些术语的确切定义是件好事,但如果你混淆了“音色”和“音高”,我怀疑没人会纠正你。
Based on these definitions, it makes more sense to say that someone is pitch deaf rather than tone deaf. You may also hear singers say that they’re afraid to sing high notes when they should say that they’re afraid to sing high pitches. Although knowing the exact definition of these terms is good, I doubt that anyone will correct you if you mix up the words tone and pitch.
在你的头部和颈部,肌肉群帮助产生音色。与此同时,大脑会向产生歌唱声音的肌肉发送信息:肺部的空气开始呼出,声带移动到位,产生音色。音色的音色就是音色。这看起来很复杂吗?其实并不复杂——这正是你每次说话时发生的事情。
Within your head and neck, groups of muscles help create tone. At the same time, the brain sends a message to the muscles that create your singing voice: The air in your lungs begins moving out and the vocal cords move into position to create the pitch. The timbre of the pitch is the tone. Does it seem complicated? Well, it isn’t — this is exactly what happens every time you speak.
要改变音色,你需要改变口腔和喉咙的空间、唱歌时的姿势以及呼吸的节奏。第六章的练习可以帮助你创造正确的音色,并调整口腔和喉咙的空间,从而改变音色,让你的声音听起来更动听。
To change the tone, you change the space in your mouth and throat, your posture, and the amount of breath moving as you sing. The exercises in Chapter 6 help you create the right tone and adjust the space in your mouth and throat so that you can change your tone and make your voice sound great.
你身体的许多不同部位都会影响你的歌唱,但了解它们如何协同工作以产生最佳声音是唱出好歌的关键。第三章和第四章专门探讨了呼吸和姿势等重要的解剖学影响,但了解那些被称为声带的细小组织带(用于唱歌的肌肉)的位置以及它们如何发出音色也同样重要。在培养良好的发声技巧时,你需要了解你的呼吸、姿势和张力如何影响声带的运作。
Many different parts of your body influence how you sing, but understanding how they all work together to produce the best sound is the key to great singing. Chapters 3 and 4 are devoted to the big anatomical influences, such as breathing and posture, but knowing where those tiny little bands of tissue called vocal cords — your muscles for singing — are located and how they make tone is just as important. When developing good vocal technique, you need to understand how your breath, posture, and tension affect the way your vocal cords work.
你的声带位于喉部(发音为larinks,而不是larnicks)内,它是你歌唱声音的来源。声带是两条横跨喉部的细小组织带,通过振动产生音色。
Your vocal cords are inside your larynx (pronounced lar-inks, not lar-nicks), which is the source of your singing voice. Your vocal cords are two small bands of tissue stretching across your larynx that vibrate to create pitch.
你的声带与你的呼吸协调,随着空气(你的呼吸)通过而张开和闭合(振动),从而发出一个音色。每次振动称为一个振动周期或声门周期。如果你唱的是管弦乐队演奏的用于调音的音符,你的声带就会以每秒440次的频率振动——没错,就是这么快。为了发出如此快速的振动,你需要保持呼吸顺畅;否则,你的空气就会耗尽,无法维持音色。(请参阅第四章,了解改善呼吸的技巧。)
Your vocal cords coordinate with your breath to release a pitch by opening and closing (vibrating) as air (your breath) passes through. Each vibration is called a cycle of vibration or glottal cycle. If you’re singing the same note that an orchestra plays to tune the instruments, your vocal cords are vibrating at 440 cycles per second — yes, that fast. To make those fast vibrations, you need to keep your breath flowing; otherwise, you run out of air and won’t be able to sustain the pitch. (See Chapter 4 to discover techniques for improving your breathing.)
你已经可以发出歌唱的声音了——只是你可能没有意识到而已。按照以下步骤练习这些声音,可以帮助你踏上歌唱之路。练习这些声音可以帮助你发现如何发出轻松自如的声音,从而探索你的整个歌唱音域。
You already can make singing sounds — you just may not realize it. Working through the sounds in the following steps can start you on the road to singing. Making these sounds helps you discover how to make tension-free sounds that explore your entire singing range.
发出以下声音:
Make the following sounds:
尝试叹气——一声深沉而悠长的叹息。
叹息是当你感受到漩涡的温暖,或有人按摩肩膀时身体放松时发出的声音。叹息时,尽量延长声音。从高处开始,逐渐降低。
Try sighing — a nice, long sigh.
A sigh is that sound you make as you feel the warmth of the whirlpool or the relaxation of your body as someone massages your shoulders. As you sigh, make the sound as long as possible. Start higher and gradually slide lower.
模仿警笛声。
上下滑动或绕圈几圈,探索高低音。警笛声中的音色与你在本书练习中唱出的音色相同。
Imitate a siren.
Slide up and down or around in circles a few times, exploring high and low pitches. Those pitches in the siren are the same pitches you sing in the exercises in this book.
高兴得欢呼起来。
探索最初声音的另一种方法是运用你的想象力。假设有人刚刚告诉你中了彩票。与其尖叫,不如试着欢呼雀跃。
Whoop with joy.
Another way to explore the first sounds is to use your imagination. Pretend that someone just told you that you won the lottery. Rather than screaming, try whooping with joy.
唱歌时,你的下巴必须比日常对话时下垂得更大,嘴巴和喉咙也必须张得更大。如果你下巴不下垂,嘴巴不张开,声音就会被困在你的嘴里,无法传到第一排观众的耳朵里。
When you sing, you have to drop your jaw much farther than you do in everyday conversation and you have to open your mouth and throat much wider. If you don’t drop your jaw and open your mouth, the sound gets trapped inside your mouth and can’t make it past the first row of the audience.
为了正确地打开喉咙和嘴巴来唱歌,你需要先感受一下周围。用手指放在下巴上,沿着下颌线一直延伸到耳朵。在下颌后部,你可以感觉到耳朵下方有一条曲线。我希望你在下颌下垂时关注这个区域。不要试图下垂下巴,而是从耳朵正下方开始下垂。后部的空间为音色提供了共鸣的空间。
To properly open the throat and mouth for singing, you need to feel around a bit first. Place your finger on your chin and trace your jaw line back to your ear. At the back of the jaw, you can feel a curve under your ear. This is the area that I want you to focus on when you drop your jaw. Instead of trying to drop your chin, I want you to drop it from the area right underneath your ear. The back space gives the tone room to resonate.
练习下颌下垂,学习如何打开口腔后部的空间(称为后腔)以及喉咙的空间;仅仅下巴下垂并不能打开后腔。练习下颌下垂的步骤如下:
Practice dropping the jaw to discover how to open the space in the back of the mouth — called the back space — and space in the throat; dropping just the chin doesn’t open the back space. To practice dropping the jaw, follow these steps:
尝试同时打哈欠和放下下巴。
记住,你要把下巴放下来,而不是仅仅把下巴往下移。你的下巴确实会移动,但你要打开耳朵后面的空间(后部空间),而不仅仅是前面的空间(前部空间)。
Try yawning and dropping your jaw at the same time.
Remember, you want to drop the jaw, not just move the chin down. Your chin does move, but you want to open the space in the back by your ear (back space), not just the front (front space).
用嘴和喉咙打哈欠,但不要张开嘴唇。
要做到这一点,假设你在一个无聊的晚宴上,你不想让女主人看到你打哈欠。当你开始打哈欠时,你会感觉到口腔和喉咙里有一种张开的感觉。打哈欠开始时,你能感觉到肌肉在伸展和张开。打哈欠结束时,肌肉会因为巨大的拉伸而变得紧绷。你需要记住打哈欠的开始,也就是肌肉张开的时候,而不是打哈欠结束时的紧张阶段。
Yawn inside your mouth and throat without opening your lips.
To do this, pretend that you’re at a boring dinner party and you don’t want the hostess to see you yawning. You feel an opening sensation inside your mouth and throat when you’re starting to yawn. At the beginning of the yawn, you can feel the muscles stretching and opening. By the end of the yawn, the muscles are tight from the huge stretch. You want to remember the beginning of the yawn, when the muscles are opening, not the tense phase at the end of the yawn.
本书将带你探索用歌唱嗓音可以发出的各种声音。了解喉头在喉咙中的位置,可以让你更容易判断喉头是过高还是过低。如果喉头过高,我会告诉你如何降低它。
Throughout this book, you explore different sounds that you can make with your singing voice. Knowing where the larynx rests in your throat makes it easier for you to tell whether your larynx is too high or too low. If it’s too high, I tell you how to drop it.
由于喉部的位置会影响音色,你需要了解喉部的位置。喉部可以上下移动。较低的喉部有助于产生饱满、开放的声音。喉部位置过高会导致声音更紧绷、更刺耳。
Because the position of the larynx affects the tone, you want to know where your larynx is. The larynx can move up or down. A low larynx helps create a full, open sound. Raising the larynx too high creates a tighter and more strident sound.
把手指放在下巴下方喉咙中部。现在吞咽。吞咽时,你会感觉到有什么东西上下移动。那就是你的喉部。
Place your fingers on the middle of your throat underneath your chin. Now swallow. As you swallow, you can feel something move up and then down. That’s your larynx.
把手指放在喉咙上打哈欠。感觉到了吗?喉头往下沉了很多。唱歌时,喉头应该位于颈部中部(中立位置)或更低。低喉头有助于为古典音乐创造美妙、饱满、开放的声音。处于中立位置的喉头更接近于唱其他风格歌曲时的状态。(有关高声演唱的更多信息,请参见第 13 章,有关演唱风格的更多信息,请参见第 14 章。)将喉头抬得太高会使声音紧绷或挤压。有些老师谈到高声演唱时要抬高喉头。如果在古典唱法中将喉头放低,那么高声演唱时喉头的位置就会更高。我更喜欢称之为中立位置,因为想到抬高的喉头可能会鼓励你向上推或按压以抬高喉头。
Keep your fingers on your throat and yawn. Feel that? The larynx went way down. When you sing, you want the larynx to be in the middle of your neck, (a neutral position) or lower. A low larynx helps create a nice, full, open sound for classical music. The larynx in a neutral position is closer to what happens when you sing other styles of songs. (See Chapter 13 for more info on belting and Chapter 14 for more info on styles of singing.) Raising the larynx too high creates a tight or squeezed sound. Some teachers talk about a raised larynx for belting. If you drop the larynx low for classical singing, the position of the larynx is higher for belting. I prefer to call it a neutral position because thinking of a raised larynx may encourage you to push up or press to raise your larynx.
吸气时要放松喉部,使其打开。吸气时不放松喉部会导致疲劳,因为唱歌时喉部肌肉一直在活动。这些肌肉在乐句之间需要休息。请参阅第四章关于呼吸的内容,了解如何在吸气时放松喉部。
You want to release the larynx on the inhalation so that it opens. Not releasing the larynx upon inhalation can cause fatigue, because the muscles in the larynx are always in action when you’re singing. Those muscles need a rest between phrases. See Chapter 4 on breathing for information on dropping the larynx when you inhale.
用手指放在喉咙中央,哼唱几句你最喜欢的歌曲。你感觉到的嗡嗡声是声带在振动并产生音色。太棒了!你可能会感觉到嘴唇或鼻子周围有嗡嗡声,甚至头顶也有振动。因为你看不到自己的声音,所以感受声音的振动很重要。你的歌声会产生振动,你能感觉到身体的振动,并听到它在房间里回荡。相信良好的技巧很重要,因为你唱歌的每个房间都有不同的声学效果。要监控你的音色,要学会感受振动,而不是依赖混响。
With your finger on the middle of your throat, hum a few bars of your favorite song. The buzzing sensation that you feel is your vocal cords vibrating and creating tone. Awesome! You may feel that buzzing sensation in your lips or around your nose. You can even feel the vibrations on the crown of your head. Because you can’t see your voice, feeling the vibrations of sound is important. Your singing voice makes vibrations that you can feel in your body and hear resounding in the room. Trusting the feeling of good technique is important, because each room that you sing in has different acoustics. To monitor your tone, learn to feel the vibrations instead of relying on reverb.
非歌唱者通常喉头位置较高。这是因为颈部大部分肌肉的设计都是为了保持喉头位置较高——而这并不是唱歌时所需的。你必须想办法让喉头在喉咙中保持较低或更中立的位置,以便唱歌。
Nonsingers usually have a high-resting larynx. That’s because most of the muscles in the neck are designed to keep the larynx high — which isn’t what you want for singing. You have to figure out how to keep the larynx in a lower or more neutral position in your throat for singing.
那么,如何在发声时保持喉头下垂呢?好问题——而且保持喉头下垂需要一些练习。记住,喉头的设计应该位于喉咙的高位,但唱古典音乐时,喉头应该放低;唱现代音乐时,喉头至少应该保持在中立位。尝试以下建议,在发声时保持喉头下垂并保持在这个位置:
Now, how do you keep the larynx dropped when you make sound? Good question — and it takes some practice for you to maintain the lower position of your larynx. Remember, the larynx is designed to ride high in your throat, but you want it to lower for singing classical music or at least stay in a neutral position for singing more contemporary music. Try the following suggestions to drop your larynx and leave it there while you make sound:
唱歌时保持喉部稳定,想象随着音色上升,喉咙空间逐渐扩大,并保持呼吸平稳。喉部可能会随着音色上升而倾斜,但不应该向上翘起。
Keep the larynx steady as you sing by visualizing the space in your throat opening farther as you ascend in pitch and by keeping your breath moving steadily. The larynx may tilt as you ascend, but shouldn’t rise.
你可能对“你五音不全”或“你五音不全”这句话很熟悉。如果这两句话听起来很熟悉,我有个好消息要告诉你。你可以培养音高感,这样你就能五音不全了。
You may be familiar with the phrase “You can’t carry a tune in a bucket” or “You’re tone deaf.” If either phrase sounds familiar, I have some good news. You can develop a sense of pitch, so you can carry a tune in a bucket.
能够在脑海里或从外部音源(例如收音机或钢琴)听到某个音色,然后唱出来,这叫做对调。对调的第一步是弄清楚如何在脑海里听到这个音色,以便能够对调。第二步是将它与你的声音对调。对调是一项技能。也许它不是你今天的强项,但你可以通过练习来提高。参考我在本节中的建议,你可以提高对调的能力,并在下次篝火晚会上加入进来。
Being able to hear a pitch in your head or from an external source, such as the radio or a piano, and then sing it is called matching pitch. The first step to matching pitch is figuring out how to hear the pitch in your head so you can match it. The second step is matching it with your voice. Matching pitch is a skill. Perhaps it’s not your strongest skill today, but you can improve with some practice. Using my suggestions in this section, you can improve your ability to match pitch and join in at the next campfire sing-along.
在音高上上下滑动,你有机会听到来自外部音源(例如钢琴)的音高,然后唱出该音高或滑动音色,直到匹配为止。远离正确音符滑动,可以让你听到自己的声音与错误音符碰撞的振动,然后匹配正确的音符。
Sliding up and down on pitch gives you the chance to hear a pitch from an external source, such as a piano, and then sing that pitch or slide around until you match it. Sliding away from the right note allows you to hear the vibrations of your voice clashing with the wrong note and then match the right note.
再次弹奏该音符并唱出来。
如果音色不匹配,请上下滑动直到匹配为止。
你可以一直弹奏音符,直到匹配为止。你怎么知道匹配成功了?你会听到你的声音和音符的振动听起来很相似。声音会融合在一起。
Play the note again and sing it.
If you didn’t match the pitch, slide up and down until you match it.
You can keep playing the note until you match it. How do you know when you’ve matched it? You’ll hear that the vibrations of your voice and the vibrations of the note sound similar. The sounds will blend together.
现在唱出这个音符。
如果再次错过,请上下滑动直到匹配音色。
Now sing the note.
If you miss again, slide up and down until you match the pitch.
如果你练习了一段时间后唱出了正确的音符,那就太好了。再弹奏一次这个音符。这次,有意地滑到音符上方或上方,然后再滑回原位,再次匹配音符。下次,试着滑到音符下方,然后再滑回原位,匹配音符。这个练习可以训练你的耳朵,让你能够听到声音和乐器的共振。
If you sang the correct note after some practice, good for you. Play the note again. This time, intentionally slide above the note or higher than the note, and then slide back down and match it again. The next time, try sliding below the pitch and then back up to match it. This exercise trains your ear to hear the matching vibrations of your voice and the instrument.
对有些人来说,听到音色和唱出音色之间缺乏联系。然而,培养所谓的肌肉记忆可以弥补这一差距。肌肉记忆是指你的身体记住如何完成一项任务——比如骑自行车或打字。在唱歌时,你的声音会记住唱某个音符或练习曲的感觉,这样你下次唱这个音符时就能回想起那种感觉。练习以下练习,你就能培养对音色的肌肉记忆。
For some folks, a link is missing between hearing the pitch and singing it. Developing what’s called muscle memory can bridge the gap, however. Muscle memory refers to your body remembering how to do a task — like riding a bike or typing. In singing, your voice remembers how it felt to sing a certain note or exercise so that you can recall that feeling the next time you sing the note. Practice the following exercise so you can develop muscle memory for matching pitch.
花一点时间,尝试用你的身体去感受音色。
这是什么意思?如果我让你想象自己说话,你会感受到或想象到身体里的感觉。当你在为晚宴排练那个有趣的笑话,或者在大型颁奖晚宴上练习获奖感言时,你会在脑海中听到自己说话的声音。现在,我想让你感受一下唱出你脑海中听到的旋律的感觉。
Take a moment and try to feel the pitch in your body.
What does that mean? If I asked you to imagine yourself speaking, you’d feel or imagine the sensation in your body. You hear the sound of your speaking voice in your head when you’re rehearsing that funny joke for the dinner party or practicing your acceptance speech for the big awards banquet. Now I want you to feel the sensation of singing the tune that you hear in your head.
唱几句曲调。
你唱得对吗?如果你唱出了大部分音符,但还是有一些音符没唱准,那就放慢速度。在脑中听到音色和唱出来之间留出更多时间。你甚至可以唱一首不像你最喜欢的曲子那么复杂的童谣。
Sing a few lines of the tune.
Were you close? If you sang most of the notes on target but missed a few, go more slowly. Take more time between hearing the pitch in your head and singing it. You can even sing a nursery rhyme that isn’t as complicated as your favorite tune.
另一种学习音准的方法是录制自己跟着另一张唱片一起唱歌。这个练习能让你有机会比较自己唱出的音符和录音中歌手唱出的音符。听录音中的自己唱歌和听现场演唱是不同的。这样你可以更客观地听出自己唱的和原版录音中的不同之处。
Another way of discovering how to match pitch is to record yourself singing along with another recording. This exercise gives you a chance to compare the notes you sing with the notes that the singer on the recording sings. Listening to yourself singing on a recording is different from listening to yourself singing live. You can be more objective and hear the difference between what you sang and what was on the original recording.
选择您最喜欢的歌曲,然后选择录音设备和播放歌曲的设备。
使用您拥有的任何设备进行录音,但使用数字录音机(例如计算机或智能手机上的录音机应用程序)录音可以提供更好的质量。
Choose your favorite song and select a recording device and a device to play the song.
Record with any device you have, but recording with a digital recorder such as your computer or the voice recorder app on your smartphone offers a better quality.
将竖笛放在嘴边并跟着歌曲一起唱。
至少唱一半的歌曲。
Hold the recorder near your mouth and sing along with the song.
Sing at least half the song.
勇敢地播放录音。
你唱的音准接近了吗?你唱对了大部分音符了吗?现在只唱错高音是可以的。你可以在第11章和第12章中阅读更多关于唱高音的内容。
Be brave and play the recording.
Were you close to matching the pitches? Did you hit most of the notes? Missing only the high notes is fine for now. You can read more about singing higher notes in Chapters 11 and 12.
If you missed most of the notes, go back and review the previous two exercises (from the sections “Sliding up and down on pitch” and “Developing muscle memory”).
唱歌时,要注意身体如何运动来产生音色。唱歌时,身体要放松,这样才能发出圆润饱满的声音。例如,如果你唱歌时身体紧张,喉咙紧绷,那么音色就会变得紧绷、单薄或刺耳。你肯定不希望出现这种情况。
Anytime you sing, be aware of how your body moves to create tone. When you sing, you want your body to be free of tension so that you create a round, full sound. For example, if you’re singing and your body is tense and your throat is tight, the tone will be tight, thin, or strident. You don’t want that.
本节中的以下练习将帮助你探索如何释放颈部、下巴和舌头的紧张,从而发出美妙的音色。但在尝试这些练习之前,请先复习一下第三章中的练习,让你的整个身体保持平衡。
The following exercises in this section help you discover how to release tension from your neck, jaw, and tongue to create that beautiful tone. But before you try those exercises, get your entire body into alignment by reviewing the exercises in Chapter 3.
放松下巴,灵活舌头很重要。下巴越紧,声音就越紧;舌头越紧,歌声就越难被听懂。
Having a loose jaw and flexible tongue is important. The tighter your jaw, the tighter the sound — and the tighter your tongue, the more difficult it is to make your song understood.
唱歌时,注意颈部和下巴的后部,这样你就能监测自己的下巴和舌头是否灵活。请遵循以下步骤:
Become aware of the back of your neck and jaw as you sing so that you can monitor whether you have a flexible jaw and tongue. Follow these steps:
按摩颈后部以释放压力。
随着紧张感逐渐消散,你会发现自己可以轻松地转动头部,颈后部也不再感到紧张。感受头部在脊柱上保持平衡,并漂浮在肩膀上方。
Massage the back of your neck to release any tension.
As the tension melts away, notice how easy it is to move your head without tension in the back of your neck. Feel your head balanced on your spine and floating above your shoulders.
当你的颈部感觉没有压力时,注意你的下巴在做什么。
大多数人甚至没有意识到,他们的下巴都咬得很紧。日常压力会导致牙齿咬紧、下巴紧绷。
When your neck feels tension-free, notice what your jaw is doing.
Without even realizing it, most people clamp down on their jaw. Everyday stress can lead to clenched teeth and clamped jaws.
为了缓解下巴痉挛的感觉,让下巴放松,就像睡着了一样。
您很可能见过有人打鼾时下巴大张,任由虫子飞进来。让自己探索一下下巴的这种放松和张开的感觉。
To relieve a cramped feeling in your jaw, let your jaw hang loose as if you were asleep.
More than likely you’ve seen people snoring with their jaw hanging wide open for any old bug to fly right in. Allow yourself to explore this feeling of release and openness in your jaw.
当你感受到流畅的动作时,尝试唱几句歌。
结合正确的姿势和呼吸,保持喉咙和口腔的开放,并流畅地运动下颌和颈部。呼!虽然有很多事情要考虑,但你一定可以做到。
When you feel the fluid motion, try singing a few lines of a song.
Combine correct posture and breathing and open space in the throat and mouth with fluid motion of the jaw and neck. Whew! That’s plenty to think about, but you can do it.
为了发出美妙的声音,唱歌时舌头需要像身体其他部位一样放松。舌头是一块巨大的肌肉,如果它紧张或后部蜷缩,就会阻碍或挤压音色,使声音听起来紧绷。你的舌头应该像地毯一样平放在嘴里,除了发辅音和元音时需要拱起舌头。(你(第 8 章有唱元音的练习,第 9 章有唱辅音的练习。)
To create great sound, your tongue needs to be just as released as the rest of your body while you sing. The tongue is a huge muscle, and if it’s tense or bunched up in the back, it blocks or squeezes the tone, making it sound tight. Your tongue should just lie like a rug — relatively flat — in your mouth except when you’re making consonant and vowel sounds that require you to arch your tongue. (You can find exercises for singing vowels in Chapter 8 and consonant exercises in Chapter 9.)
不要移动下巴,说“Yuk”。
说 y 时,你可以移动舌头的后部。
Without moving your jaw, say “Yuk.”
Saying the y allows you to move the back of your tongue.
再次,不要移动下巴,说“ Yah-yah-yah-yah-yah ”。
你注意到你的舌头是怎么动的吗?你可能需要照照镜子,或者用手托住下巴,看看它有没有动。
Again, without moving your jaw, say “Yah-yah-yah-yah-yah.”
Did you notice how your tongue was bouncing? You may need to look in the mirror or hold your hands on your jaw to notice if it moves.
再次弹动你的舌头,然后让它在你的嘴里休息。
注意舌头在嘴里休息时的感觉。它没有绷紧,也没有上下推动。它只是平躺在嘴里。
Bounce your tongue again and then let it rest in your mouth.
Notice what the tongue feels like when it’s resting in your mouth. It’s not tense or pushing up or down. It’s just lying in your mouth.
晃动下巴并说“呀呀” 。
多说几遍“ Yah-yah ”,发声时下巴上下摆动。注意发完音节后下巴是如何静止的。你的下巴要像舌头一样放松,随时准备活动——但不要紧张。
Bounce your jaw and say “Yah-yah.”
Say “Yah-yah” several times, and let your jaw bounce or move up and down as you say it. Notice how it rests in place after you say the syllables. You want your jaw, like your tongue, to hang loose, ready to move at any moment — but not tense.
在每个音符上唱“Y a h”,感受舌头的运动。
现在,不要动你的下巴。只用你的舌头唱出“Y a h”。
Sing “Yah” on each note to feel the movement of your tongue.
For now, don’t move your jaw. Just use your tongue to sing the “Yah.”
在你探索了那种感觉之后,再次唱出这个模式,但唱“ ah ”时将舌头放在嘴里。
注意当你唱出a h 元音时你的舌头是如何放松的。
After you explore that sensation, sing the pattern again, but sing an “ah” with your tongue resting in your mouth.
Notice how released your tongue can be when you sing the ah vowel.
再次唱出这个节奏,并晃动下巴唱“Y a h-y a h”。
唱歌时让下巴动起来。这样你仍然可以唱歌。
Sing the pattern again, and bounce your jaw and sing “Yah-yah.”
Allow the jaw to move as you sing. You’ll still be able to sing.
使用a h 元音再次唱出该旋律,并保持下巴静止。
请注意,下巴是松垂的并且是张开的。
Sing the pattern again, using the ah vowel, and let your jaw be still.
Notice that the jaw is hanging loosely and is open.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 5-1:舌头和下巴的弹动。
FIGURE 5-1: Bouncing the tongue and jaw.
第 2 部分
Part 2
在本部分中……
IN THIS PART …
第六章
Chapter 6
本章内容
IN THIS CHAPTER
利用空间和呼吸来创造音色
Using space and breath to create tone
保持那美妙的音色
Maintaining that beautiful tone
发现你自己的颤音
Discovering your own vibrato
要创造出自己优美动听的音色,你需要为音色的共鸣留出空间,并运用你在第四章中学到的呼吸技巧。空间和呼吸是音色产生过程中不可或缺的伙伴。如果你邀请空间加入歌唱派对,却不邀请呼吸,空间就会被封闭。所以,把这两个因素视为一个团队,并让它们协同工作。本章将为你提供所有必要的工具,帮助你在创造和维持优美音色和颤音的同时,打造属于你自己的空间和呼吸组合。
To create your own beautiful, engaging tones, you need to make space for the tone to resonate, and you need to apply the breathing skills that you can pick up in Chapter 4. Space and breath are great partners in tone production. If you invite space to the singing party and don’t invite breath, the space closes down. So think of those two factors as a team, and keep them working together. This chapter gives you all the tools you need to create your space and breath team while creating and sustaining beautiful tone and vibrato.
唱歌时,你需要刻意营造不同的音色。对于初学者,我建议你先练习清晰响亮的音色,然后再学习如何改变音色,例如发出带气息的音色。但要发出清晰的音色需要练习和技巧。你需要知道如何控制肌肉和气流,才能轻松地改变音色。
When you sing, you want to create different sounding tones on purpose. For beginners, I recommend that you work for tones that are clear and ringing and then figure out how to alter that and make breathy tones. But making a clear tone takes practice and know-how. You need to know how to control your muscles and the movement of air to easily change the tone.
声调起始是指唱歌时开始发出一个音色。声调起始有两种方式:用力或用气。唱歌时需要用一些体力,但这种用力来自为协调呼吸肌肉而移动的能量。当喉咙里的肌肉挤压在一起而空气流动很少时,就会导致体力过强。通过以一致的呼吸流量和张开的喉咙起始音,你可以创造出质量更好的音色。用气起始音与产生唇颤音(见第 4 章)或舌颤音的原理相同。当你开始发唇颤音时,空气从你的嘴唇之间经过,吸力将嘴唇拉近,嘴唇在微风中飘动。当你通过协调一致的气流起始音时,你的声带也会做同样的事情。
Onset of tone refers to starting a tone for singing. You can start a tone in two ways: with physical force or with air. You have to use some physical exertion to sing, but the exertion comes from energy moving to coordinate the muscles for breathing. Too much physical force results when the muscles in the throat press together with very little air flowing. By starting the tone with a consistent breath flow and an open throat, you create a tone that has a better quality. Starting the tone with air applies the same idea as producing the lip trill (see Chapter 4) or tongue trill. When you start the lip trill, the air passes between your lips, suction pulls them together, and they flap in the breeze. Your vocal cords do the same when you start the tone by coordinating a consistent flow of air.
哼唱是发出声调的最简单方法,即闭上嘴唇唱歌或发声。把哼唱想象成一个延长的M。试一试。如果不确定自己的声调是否清晰,可以闭上嘴说“Uh-huh”——这是您在看报纸时有人问您问题时发出的声音。再说一次“Uh-huh”来听和感受清晰度,然后用同样的感觉哼唱一段歌曲。“Uh-huh”发出的清晰度与您用来探索气音的耳语不同。您可以感受到气音和清晰音之间振动的差异。清晰音会在您的喉咙、嘴巴和鼻腔中产生更强烈的振动。您可能会在这三个位置感到振动,或者振动可能会根据您唱歌或说话的高低而有所不同。记住这种感觉,以便您每次唱歌时都能清晰地发出声调。
The easiest way to start the tone, humming, involves singing or making a tone with your lips closed. Think of humming as a prolonged M. Try it. If you aren’t sure whether your tone was clear, say, “Uh-huh,” with your mouth closed — the sound you make when you’re reading the newspaper and someone asks you a question. Say “Uh-huh” again to hear and feel the clarity, and then use that same feeling to hum part of a song. The clarity of tone from your “Uh-huh” is different from the whisper you use to explore breathy tone. You can feel the difference in vibrations between a breathy tone and a clear tone. The clear tone creates stronger vibrations in your throat, mouth, and nasal passages. You may feel vibrations in all three locations, or the vibrations may vary depending on how high or low you’re singing or speaking. Remember this feeling so that you can start the tone clearly each time you sing it.
在计算机出现之前,人们常用“后退”来指将打字机的笔架向后移动一个格子。在唱歌中,“后退”指的是口腔后部和喉咙里的空间。仅仅张开牙齿或嘴巴前部(前部空间)虽然能展现你洁白的牙齿,但这对音色的塑造并不够。没错,你确实需要张开牙齿来创造足够的后退空间,但更大的开口必须在口腔后部和喉咙里。为了使空间和气息协调一致,你需要快速打开空间,然后呼气。(更多关于呼吸的信息,请参阅第四章。)
In the days before computers, people often used the phrase back space to refer to moving the carriage of a typewriter back one space. In singing, back space refers to the space in the back of your mouth and in your throat. Just opening your teeth or the front of your mouth (front space) shows off your gorgeous pearly whites, but it doesn’t do enough for your tone. Yes, you do have to open your teeth to create enough back space, but the big opening has to be in the back of your mouth and your throat. For space and breath to work together, you need to open the space quickly and then move the breath. (See Chapter 4 for more information about breathing.)
试着唱一段你最喜欢的歌曲。找到口腔后部想象的鸡蛋的开放度,然后开始张开喉咙和口腔后部唱歌。记住要找到和你哼歌时一样清晰的声音。你可以先闭合喉咙和口腔后部唱歌,然后再打开喉咙和口腔后部唱歌,比较一下音色的变化。如果你不确定声音的区别,可以录下来听一听。
Try singing part of your favorite song. Find the openness from the imaginary egg in the back of your mouth, and begin singing with the throat and the back of your mouth open. Remember to find the same clarity that you had when you were humming. You can compare the tone change by first singing with the throat and back of the mouth closed and then singing with the space open. If you aren’t sure about the difference in the sound, record yourself and listen.
最初几次打开口腔后部空间时,共鸣可能听起来很“呼呼”,就好像声音就在口腔后部一样。在学习协调空间的同时,让音色保持“呼呼”的状态。最终,你将能够打开口腔后部空间,将声音向前发出。
The first few times you open the space in the back of your mouth, the resonance may sound hooty, as if the sound is in the back of your mouth. Allow the tone to be hooty while you learn to coordinate the space. Eventually, you will be able to open the space and send the sound forward.
当你的空间开阔时,你需要协调呼吸和音色来唱歌。你希望空气的流动与音色的出现同时发生。
When you have the space open, you want to coordinate breath with tone to sing. You want the movement of the air to happen at the same time the tone starts.
探索完这三个建议后,试着唱一首歌的一部分,注意每个乐句开头音符时的气流。你应该让气流在整个唱歌过程中保持持续的流动,并且让歌声中的空间保持开放。
After you explore these three suggestions, try singing part of a song to notice the flow of your air as you start the beginning tone of each phrase. You want the air to be moving consistently the entire time you sing, and you want the open space to remain open as you sing.
某些风格的音乐对音色的清晰度要求不高,但你还是应该主动选择用气息唱出清晰的音色,而不是在真正想唱的时候却不知如何唱清楚。叹息可以帮助你专注于找到这种清晰的音色。它让你能够轻松地发出声音,而不必担心音色是否准确,而在本练习中你无需为此操心。
Certain styles of music don’t require clarity in the tone, but you want to be singing a breathy tone by choice instead of having no idea how to sing clearly when you really want to. Sighing helps you focus on finding this clarity of tone. It allows you to make sounds without worrying about singing precise pitches, which you needn’t bother with for this exercise.
年轻歌手的音色常常带有气息,这是由于缺乏协调造成的。为了发出清晰的音色,你需要使用正确的技巧,并且不要施加压力。这样做需要先准备好呼吸,然后像我刚才描述的那样,施加能量。如果你的音色带有气息,请练习呼吸技巧(参见第四章),以便更好地理解身体的这种运动。当你掌握了呼吸技巧后,就可以专注于音色的产生。随着年龄的增长,你的音色也可能会发生变化,这是正常的。只要记住良好技巧的感觉,并不断练习,让它成为你身体的习惯即可。
Younger singers often have a breathy tone, caused by lack of coordination. To create a clear tone, you need to use correct technique without adding pressure. Doing so involves getting the breath ready and then adding the energy that I just described. If you have a breathy tone, work on your breathing skills (see Chapter 4) to better understand that movement in your body. When you’ve polished your breathing skills, focus on tone production. Your tone may also continue to change as you mature, which is normal. Just remember what good technique feels like and keep working to make it a habit in your body.
如果你不确定自己的音色是否清晰,可以录下练习过程,模仿玛丽莲·梦露演唱《总统先生,生日快乐》时那种漫不经心的语调;然后模仿歌剧演员,找到清晰的音色。关键在于找到自己的音色,并知道什么时候清晰的音色合适。如果你想要那种风格和声音,可以使用气息声调。诺拉·琼斯的气息声调很浓,但她是一个用麦克风演唱流行和爵士乐的人,她故意使用了这种音色。
If you aren’t sure whether your tone is clear, record your practice session and imitate Marilyn Monroe’s unfocused tone when she sang “Happy Birthday, Mr. President”; then imitate an opera singer to find clear tones. The point is to find out what your tone sounds like and know when a clear tone is appropriate. You can use a breathy tone if you want that style and sound. Norah Jones has a breathy tone, but she’s an example of someone singing pop and jazz music with a microphone, using that tone on purpose.
放音听起来远不如唱出音色重要。你唱出一个音色,然后放音或停止唱歌。唱歌需要呼气,而放音只需要吸气。听起来很简单,不是吗?练习以下两个练习几次,感受身体的律动。在表演的高潮中,你需要让你的身体记住如何放音,这样你才能快速地吸进下一个呼吸。
Releasing a tone doesn’t sound nearly as important as singing the tone. You sing a tone and then release it or stop singing. Singing requires that breath move out of your body (exhale), and releasing the tone simply requires that you inhale. Sounds easy doesn’t it? Practice the following two exercises a few times to get the feeling in your body. In the heat of the performance, you want your body to remember how to let go of the tone so you can quickly take in that next breath.
练习释放音色的一个简单方法是吸气。唱出一个ah元音,当你准备停止这个音色时,只需吸气即可。最初几次尝试时,可能会感觉很奇怪。你可能会认为自己做得不对,因为这太简单了。练习连续唱几次ah并释放:啊,吸气,啊,吸气,啊,吸气。这个练习能让你感觉到唱歌就是呼气,释放音色就是吸气,并且呼吸始终在运动,无论是吸气还是呼气。记住,当你吸气时,你要放松喉咙的肌肉。如果你保持肌肉紧张,你就会喘气,因为空气正试图通过一个狭窄的空间。
An easy way to practice releasing tone is to inhale. Sing an ah vowel and, when you’re ready to stop the tone, simply inhale. The first few times you try this, it may feel funny. You may think that you haven’t done it right, because it was too easy. Practice singing the ah and releasing several times in a row: ah, inhale, ah, inhale, ah, inhale. This exercise allows you to feel that singing is exhaling, releasing a tone is inhaling, and the breath is always in motion, whether going in or out. Remember that when you inhale, you want to release the muscles in your throat. If you keep the muscles tight, you gasp, because the air is trying to pass through a tight space.
在你学会吸气释放音色之后,试着放松喉咙,放松喉咙里的所有肌肉。你可能还有足够的空气继续唱歌,但如果你唱完了一首歌或唱完一个乐句,就必须释放音色。想象一下,通过放松喉咙里的所有肌肉来停止音色。你最终可能会吸气,但你不必担心这个动作,因为你的身体已经处理好了。作为一名年轻的歌手,我害怕唱高音,因为我不知道如何在不卡住辅音的情况下停止高音。把释放想象成从音色升空或从辅音升空,不要担心停止音色。
After you explore inhaling to release the tone, try letting your throat go and releasing all the muscles in your throat. You may still have enough air to keep singing, but you have to release the tone if you’re at the end of the song or the end of a phrase. Just think of releasing in your throat by letting go of all the muscles to stop the tone. You may end up inhaling, but you don’t have to worry about that action, because your body took care of it. As a young singer, I was afraid to sing higher pitches because I didn’t know how to stop them without choking on the consonant. Think of the release as a liftoff from the tone or a liftoff from the consonant, and don’t worry about stopping the tone.
保持音准是唱歌的必备技能。你有没有遇到过在歌曲结束前用尽气息,然后不得不偷偷吸一口气的情况?唱歌时偷偷吸一口气是合法的,但我希望你选择吸气,而不是迫不得已。在你用尽气息的时候,你甚至可能不得不在唱到某个词的中间吸一口气。哎呀!这虽然不是联邦犯罪,但你来对地方了,这里有一些关于运用呼吸技巧保持音准的技巧。
Sustaining tone is a singing must. Have you ever run out of air before the end of the phrase in your song and then had to sneak in a breath? Sneaking in a breath is legal when you sing, but I want you to sneak a breath because you choose to, not because you have to. Among the times you ran out of air, you may even have had to take a breath in the middle of a word. Yikes! It’s not a federal crime, but you came to the right place for some tips on applying your breathing skills to sustain tones.
专业歌手能够轻松唱出那些优美的音色,是因为他们知道如何连接歌曲中的各个音高。歌手有时会逐个音高地演唱旋律,而不会考虑连续的旋律线或乐句。为了使乐句连贯(流畅连贯),需要将音高之间想象成没有空隙。声音需要从一个音高流畅地过渡到另一个音高,即使在音高变化时,喉咙中的感觉也必须是连续的。唱出一长串音色是可能的,因为呼吸控制很重要。如果您还没有阅读第四章关于呼吸控制的内容,请立即阅读,以便在尝试唱连奏旋律时运用这些技巧。
Those gorgeous tones that professionals sing so effortlessly happen because they know how to connect the pitches of a song. Singers sometimes sing a melody one pitch at a time, not thinking of a continuous line or phrase. To make the phrases legato (smooth and connected), think of the pitches as having no empty space in between. The sound needs to flow from one pitch to the other, and the feeling in the throat must be a continuous sound even while you change pitches. Singing a long line of tone is possible because of breath control. If you haven’t read Chapter 4 on breath control, do so now so that you can apply those skills as you attempt to sing legato lines.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 6-1:创建连奏线。
FIGURE 6-1: Creating a legato line.
唇颤音是我在第 4 章中解释的一种练习。这一次,你要让嘴唇在更长、更慢的音乐模式中真正颤动。唇颤音的目的是监控气流——没有气流,你就无法继续唇颤音。通过延长这个模式,你就有机会更长时间地维持这个音色。如果唇颤音对你来说太过分,可以随意使用舌颤音。原理是一样的:颤动舌头,但保持一致的气流。对于这个模式,你需要监控你颤音时身体的动作——逐渐移动。回顾第 4 章中的练习,了解如何管理呼气。
The lip trill is an exercise that I explain in Chapter 4. This time, you’re going to really let those lips trill on a longer, slower musical pattern. The purpose of the lip trill is to monitor the flow of air — you can’t continue the lip trill without the air flowing. By making the pattern longer, you get an opportunity to sustain the tone longer. If that lip trill is just too much for you, feel free to use a tongue trill. The principle is the same: trilling the tongue but maintaining a consistent flow of air. For this pattern, you want to monitor how your body moves as you trill — gradually moving. Review the exercises in Chapter 4 for tips on how to manage exhalation.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 6-2:颤音长连奏线。
FIGURE 6-2: Trilling a long legato line.
图 6-3中的节奏型让你有机会尽情歌唱,并全力以赴。我没有加快练习速度,而是放慢速度,使其更具挑战性,所以你真的需要练习呼吸。仔细思考所有可以运用的技巧(保持良好的姿势,打开喉咙和嘴巴的空间,以及让呼吸进入身体),这样当你唱这个节奏型时,你就能把所有技巧都运用到位。
The pattern in Figure 6-3 gives you the chance to sing and put all your eggs in the basket. Instead of playing the exercise faster, I slow it down to make it harder, so you really have to work the breath. Think through all the skills that you can apply (using great posture, opening the space in your throat and mouth, and getting breath in your body) so you’re ready to put it all together when you sing this pattern.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 6-3:管理长短语。
FIGURE 6-3: Managing long phrases.
颤音,即持续音色或音高的变化,是歌手和音乐风格之间的区别之一——他们使用颤音的程度以及是否始终使用颤音。正常的颤音频率是每秒五到八次脉冲或音色波动。
Vibrato, the variation of a sustained tone or pitch, is one of the differences between singers and styles of music — how much vibrato they use and whether they use it all the time. A normal vibrato rate is five to eight pulses or fluctuations in the tone per second.
颤音可快可慢,取决于歌手。非常慢的颤音有时被称为颤音,通常是由于呼吸不协调造成的。过快的颤音被称为震音,通常是由于喉咙或颈部某处过度紧张造成的。继续阅读,了解哪些练习可以帮助你找到适合自己的颤音,并发现直音(音高没有变化)和颤音之间的区别。
Vibrato can be fast or slow, depending on the singer. A really slow vibrato is sometimes called a wobble, which is often created by a lack of breath coordination. Vibrato that’s too fast is called a tremolo and usually results from too much tension somewhere in the throat or neck area. Keep reading to find out what exercises can help you find your vibrato and to discover the difference between straight tone (no variation in pitch) and vibrato.
唱歌时,一种选择是使用直音,不加颤音或变调。演唱各种风格的音乐时都可以使用直音,但最好选择直音,因为它是一种不同的声音。了解如何从直音过渡到带颤音的音色,对于增加歌唱音色的多样性至关重要。年轻歌手(青春期之前)并不总是会颤音,但几乎所有其他人都有或能够掌握颤音。
When you sing, one option is to use straight tone, with no vibrato or variation in the tone. You can use straight tone when you sing various styles of music, but you want the straight tone to be a choice, because it’s a different sound. Knowing how to move from straight tone to a tone with vibrato is important in adding variety to your singing tone. Young singers (before they hit puberty) don’t always have vibrato, but almost everyone else has it or can acquire it.
唱歌时,你可以选择发出音高变化的音色(颤音)或不变的音色(直音)。直音唱法绝对没有错,只要你愿意。你的合唱团指挥可能要求你在演唱某些风格的音乐时唱直音(更多信息,请参阅附近的侧边栏“不同风格的颤音”)。许多人唱直音是因为他们的颈部或喉咙过于紧张。你不必收缩喉咙来发出直音——事实上,恰恰相反。无论是否颤音,你都需要保持喉咙张开。
When you sing, you can choose to create tone that has variation in pitch (vibrato) or not (straight tone). Absolutely nothing is wrong with straight tone singing, as long as that’s your choice. Your choir director may have asked you to sing straight tones when performing some styles of music (see the nearby sidebar, “Vibrato in different styles,” for more info). Many people sing with straight tones because they have too much tension in their neck or throat. You don’t have to squeeze in your throat to create straight tone — actually, just the opposite is true. You need to keep the throat open for a tone with or without vibrato.
呼吸协调性好、空间开阔的歌手通常有颤音。想象一下一位歌手(可能是你听过的歌剧或古典音乐歌手),他唱歌时会发出巨大的声音。现在,模仿这位歌手。
Singers who have good coordination of breath and open space usually have vibrato. Think of a singer (probably someone you’ve heard singing opera or classical music) who makes a huge sound when singing. Now imitate that singer.
找一个安静的地方,让你能发出足够多的声音。在脑海中聆听歌手的声音,然后模仿他。如果有帮助的话,可以张开双臂,拿着毛巾,或者站在椅子上,这样你就能感觉自己变得无比强大。模仿技巧娴熟的人不会损害你的嗓子。你可能会发现自己也能发出一些相当洪亮的声音。
Find a quiet place where you can make plenty of sound. Hear the singer’s voice in your mind and then imitate that singer. If it helps, open your arms wide, hold a towel, or stand on a chair, so you feel enormous. Imitating someone with good technique doesn’t hurt your voice. You may discover that you can make some pretty big sounds yourself.
如果你模仿一位歌手的颤音,你或许也能学会如何模仿那种颤音。当你模仿时,继续探索那种声音,并留意自己的声音听起来是什么样的。你甚至可以录下自己的声音,只是为了证明你也发出过如此美妙的声音。
If you imitate a singer with vibrato, you can probably figure out how to imitate that vibrato, too. When you do, continue to explore that sound and notice what your voice sounds like. You can even record yourself, just to prove that you made that much glorious sound.
如果你找不到不同的声音,那就模仿其他歌手。这次选择一位传奇歌剧演员。装出一副华丽的样子,假装你因为这位明星生病而被叫去唱歌。假装唱几首这位歌手的歌——甚至编一下歌词。
If you didn’t find a different sound, imitate a different singer. This time choose a larger-than-life opera singer. Be flamboyant and pretend that you’ve been called in to sing because the star is ill. Fake it and sing some of this singer’s songs — even make up the words.
你可能想通过弹动腹部或喉部来产生颤音——但千万别这么做。弹动腹部或喉部并不能持续产生颤音;与其强迫颤音,不如像你在第4章的练习中那样,让气流持续流动,从而自然产生颤音。尽情发挥,享受颤音吧!
You may be tempted to create vibrato by bouncing your abdomen or your larynx — but don’t. Bouncing your abs or larynx doesn’t consistently produce vibrato; instead of forcing it, let the vibrato happen because you keep air consistently flowing, as you did in the exercises in Chapter 4. Ham it up and enjoy vibrato!
第七章
Chapter 7
本章内容
IN THIS CHAPTER
区分真相与虚构
Separating the truth from fiction
将您的声音传播到人们可以听到的地方
Putting your sound out where folks can hear it
理解共振不是什么
Understanding what resonance isn’t
移动软腭以达到最佳共鸣
Moving your soft palate to achieve the best resonance
所有这些歌手是如何在没有麦克风的情况下发出如此大的声音的呢?他们利用了共振,也就是产生音色的振动。共振是一种神奇的魔力,它能让歌手无需借助电子扩音器就能让声音充满整个大厅。创造音色是歌唱的第一步。(更多关于创造音色的信息,请参阅第五章。)下一步是根据你想演唱的音乐风格来完善你的音色。继续阅读,了解更多关于不同音乐风格(例如古典、流行摇滚、乡村、爵士等)所需的共振类型。
How do all those singers project so much sound without microphones? They take advantage of resonance, the vibrations that create tone. Resonance is the glorious magic that allows a singer to fill a large hall with sound without electronic amplification. Creating tone is the first step in the singing process. (See Chapter 5 for more information on creating tone.) The next step is to refine your tone depending on which style of music you want to sing. Read on to find out more about what type of resonance is desirable for different styles of music, such as classical, pop-rock, country, and jazz, among others.
声音在“峡谷”中振动,你需要利用身体中被称为“共鸣器”的小“峡谷” ——你的喉咙、口腔和鼻腔。第六章讨论如何打开喉咙和口腔的空间,以最大限度地利用这些共鸣器。通过抬起软腭,你可以调整喉咙和鼻腔的共振。(更多关于软腭的信息,请参阅本章后面的“消除鼻音”部分。)
Sound vibrates in canyons, and you need to take advantage of the small canyons in your body called resonators — your throat, mouth, and nasal passages. Chapter 6 discusses how to open the space in the throat and mouth to get the most benefit from those resonators. And by lifting the soft palate, you adjust the resonance in the throat and nasal passages. (For more on your soft palate, see the section, “Eliminating Nasality,” later in this chapter.)
在本章中,您将探索声音和共鸣的感觉,并发现声音可以在您的身体中产生共鸣的地方。
In this chapter, you explore the sounds and feeling of resonance and discover where sound can resonate in your body.
共鸣是指口腔、喉咙和鼻腔内产生音色的振动。在某些音乐风格中,饱满、洪亮的共鸣音是理想的,但在其他风格中则不合适。本部分将深入探讨共鸣,明确哪些共鸣是音乐风格的标准,如何深入研究自己的共鸣器,以及如何创造共鸣音。
Resonance is vibrations that create tone within your mouth, throat, and nasal passages. Large, full resonant tones are desirable in some styles of music but inappropriate in other styles. These sections dive deeper into resonance, identifying what resonance is standard for music styles, how you can delve into your own resonators, and what you can do to create resonant sounds.
继续阅读,了解您最喜欢的音乐风格的惯例:
Keep reading to find out what’s customary in your favorite style of music:
唱歌时,你需要打开喉咙和口腔的空间,让所有共鸣腔(口腔、喉咙和鼻腔)都能发出声音。打开空间可以让音色在空间中产生共鸣,但唱歌时,音色需要向前移动,才能让每个人都听到;否则,你只是在脑海里上演一场私人音乐会。让声音向前移动意味着充分利用共鸣腔,让声音在每个共鸣腔中真正响起,同时你还要有意识地将声音向前推进,传遍整个房间。
When you sing, you want to open the space in your throat and mouth to generate sound in all your resonators (mouth, throat, and nasal passages). Opening the space allows the tone to resonate in the space, but tone needs to move forward when you sing for everyone to hear you; otherwise, you’re just staging your own private concert inside your head. Moving the sound forward means taking advantage of the resonators and allowing the sound to really ring in each resonating space while you intentionally propel the sound forward and into the room.
继续阅读,了解更多关于鼻腔共鸣的信息,你会感觉到面部振动。你可以查看第六章中关于打开喉咙的信息,这有助于在喉咙和口腔中产生共鸣音。阅读第八章,了解更多关于如何发出同样共鸣的元音,以及如何让你的歌词在音乐厅的后排也能被听到的信息。
Keep reading for more information about resonance in the nasal passages, which you feel as vibration in your face. You can check out the information in Chapter 6 on opening the throat, which helps create resonant tone in your throat and mouth. Read Chapter 8 for more about producing equally resonant vowels and making your words heard from the back of the concert hall.
吞咽元音会使声音反向移动——这与为了达到你想要的共鸣而推动声音向前相反。为了创造出在房间里回荡的共鸣音,让共鸣的声音和感觉向前移动。请遵循以下步骤:
Swallowing vowels moves the sound into reverse — it’s the opposite of propelling the sound forward to achieve the resonance you want. To create resonant tones that resound around the room, allow the sound and sensations of the resonance to move forward. Follow these steps:
通过哼唱来维持 M 辅音。
注意嘴唇和脸部周围的嗡嗡声。
Sustain an M consonant by humming.
Notice the buzzing sensation in your lips and around your face.
再次维持 M 辅音片刻,然后维持 ee 元音。
听起来像“MMMMMeeeeeeeeeee”。
Sustain an M consonant again for a few moments, and then sustain an ee vowel.
It sounds like “MMMMMMeeeeeeeeee.”
现在唱同样的“MMMMMMeeeeeeeeee”。
注意 ee 是否在与M相同的区域发出嗡嗡声或共鸣声。大多数人说,持续发M辅音会在他们的嘴唇周围或脸部前方产生嗡嗡声,因此当你移动到元音ee 时寻找相同的感觉。
Now sing the same “MMMMMMeeeeeeeeee.”
Note whether the ee buzzes or resonates in the same vicinity as the M. Most people say that sustaining the M consonant creates a buzz of vibrations around their lips or in the front of their face, so look for that same sensation when you move to the vowel ee.
当M–ee很容易并且您已经探索了两种声音的嗡嗡声感觉时,请尝试M–ooh、M–oh和M–ah。
M–ah可能比较难感觉到,但尝试唱出h并保持与M–ee中相同的振动。
When M–ee is easy and you’ve explored the buzzing sensations for both sounds, try M–ooh, M–oh, and M–ah.
M–ah may be harder to feel, but try to sing ah and keep the same vibrations you found in M–ee.
当这很容易时,在辅音和元音之间滚动,唱出像many和moment 这样的单词。
每次从辅音到元音时,都要保持相同的响声或嗡嗡的共鸣感。
When that’s easy, roll between consonants and vowels, singing words like many and moment.
Maintain the same ring or buzzing sensation of resonance each time as you go from the consonant to the vowel.
软腭是位于口腔上颚的软组织。了解它的位置和运动方式有助于发出共鸣音。软腭上抬有助于产生你想要的鸣叫声。如果软腭没有上抬,发出的声音就会带有鼻音。锻炼软腭,让它根据指令上抬,就能避免发出鼻音。
Your soft palate is the soft tissue on the roof of your mouth. Knowing where it is and how it moves can help you make resonant tones. A soft palate that lifts helps create the ringing sound that you want. If the soft palate doesn’t lift, the sound is nasal. Exercise your soft palate so that it lifts on command and you avoid that nasal sound.
观察软腭的活动有助于你想象它是如何正常工作的。但在观察它运作之前,你需要先弄清楚它在你口腔中的位置。
Seeing your soft palate in action helps you visualize it working correctly. But before you watch it work, you need to find out where it is in your mouth.
用舌头沿着门牙后部,然后沿着口腔顶部滑动。你会感觉到牙龈后方有一道脊线,然后是硬腭的硬度,最后是后部的软组织。这些软组织就是你的软腭。
Run your tongue along the back of your front teeth and then along the roof of your mouth. You can feel a ridge right after your gums, then the hardness of the hard palate, and then the soft tissue at the back. That soft tissue is your soft palate.
要观察软腭运动,请按照以下步骤操作:
To see your soft palate move, follow these steps:
如果你不确定软腭移动时是什么感觉,那我允许你少睡一会儿,打个呼噜。打呼噜能让你感觉到软腭移动。
If you aren’t sure what your soft palate feels like when it moves, then I give you my permission to cut some zzzzz’s and snore. Snoring helps you feel your soft palate moving.
了解了软腭的位置和移动时的感觉后,您需要发现如何协调软腭和舌头的运动。了解如何移动软腭对于说话和唱歌很重要,因为您需要软腭抬起才能发出共鸣音。如果软腭没有抬起,发出的声音就会在鼻子中产生过多的共鸣,或者像您可能听过某人说的那样,是“鼻音”。要发出具有共鸣音的声音,请探索以下练习,以帮助您在说话时感受舌头和软腭的运动。然后,您可以将同样的知识应用到唱歌中。当唱需要移动软腭的辅音时,移动舌头和软腭直到它们接触,然后抬起软腭并放下舌头。
When you know where your soft palate is and how it feels when it moves, you need to discover how to coordinate that movement of your soft palate with your tongue. Knowing how to move the soft palate is important for speaking and singing, because you want the soft palate to lift for a resonant tone. If the soft palate doesn’t lift, you make a sound that has too much resonance in your nose, or a “nasal sound,” as you may have heard someone say. To make a sound that has a resonant tone, explore the following exercises to help you feel the movement of the tongue and soft palate in words. You can then apply that same knowledge to your singing. When it’s time to sing a consonant that requires moving the soft palate, move the tongue and soft palate until they touch and then lift the soft palate back up and release the tongue down.
在第9章中,你可以探索辅音。为了准备一些你需要在口腔中做出的动作,你需要能够移动舌头触碰软腭,然后向下移动并放在嘴里。为了感受舌头后部如何抬起与软腭接触,然后向下移动,请执行以下操作:
In Chapter 9, you can explore consonants. To prepare for some of the movements you need to make in your mouth, you want to be able to move your tongue to touch your soft palate and then go back down and rest in your mouth. To feel how the back of your tongue raises to meet your soft palate and then moves back down, do the following:
上下移动软腭。
站在镜子前,用手电筒照一下你的口腔后部。找到你的软腭,试着移动它。如果你不确定如何移动它,可以说发出“Hung - ah”的声音,观察软腭和舌头的接触和分离。重复几次“Hung - ah”,直到你能感觉到肌肉在推动软腭运动。试着将软腭向上移动,然后放松。如果仍然无法移动,就打个哈欠。打哈欠时,软腭会向上移动。舌头通常会在打哈欠时向下放松。你不应该像打哈欠快结束时那样,舌头向下推;你应该在软腭向上移动时,舌头向下放松。
Move the soft palate up and down.
Stand in front of the mirror and shine a flashlight at the back of your mouth. Locate your soft palate and try to move it. If you aren’t sure how to move it, say “Hung-ah” and watch the soft palate and tongue meet and then separate. Say the “Hung-ah” several more times until you can feel the muscles that move the soft palate. Try to move the soft palate up and then release. If it still won’t move, yawn. The soft palate moves up at the beginning of a yawn. The tongue usually releases down at the beginning of a yawn. You don’t want the tongue to push down as it does toward the end of a yawn; you want the tongue to release down as the soft palate moves up.
抬起软腭并保持四秒。
回顾前面的步骤,学习如何抬起软腭。当你能够完成这个动作时,抬起软腭,练习保持四拍。放松,然后再抬起四拍。唱歌或说话时,抬起软腭是必要的。保持软腭向上可以保持恰到好处的共鸣,因为软腭下落过低会使声音带有鼻音。
Lift your soft palate and keep it up for four counts.
Review the preceding step to figure out how to lift your soft palate. When you can execute that motion, lift the soft palate and practice keeping it up for four counts. Release it and then hold it up again for four counts. Holding up the soft palate is what you want to do when you sing or speak. Keeping the soft palate up keeps the resonance just right, because dropping the soft palate too low makes the sound nasal.
上下移动舌头。
再说一次“Hung - ah”,观察舌根向上移动。看看你是否能像反复发K音那样上下移动舌根。练习上下移动舌根,直到你确信自己知道如何向上移动,然后松开。
Move the tongue up and down.
Say the “Hung-ah” again and watch the back of your tongue move up. See whether you can move the back of the tongue up and down, as you do when you’re repeatedly saying a K sound. Practice moving the back of the tongue up and down until you’re confident that you know how to move it up and then release it.
将舌头和软腭分开。
抬起软腭,放松舌头。不要把舌头往下压,而是放松舌头,这样口腔里就会有空间,或者说软腭和舌头之间会有距离。这种打开的感觉正是你在吸气和唱歌时想要感受到的。
Separate the tongue and the soft palate.
Lift the soft palate and release the tongue. Don’t press the tongue down, but release it so there’s space in the mouth or distance between the soft palate and the tongue. This opening is what you want to feel when you inhale and when you sing.
鼻腔共鸣不同于鼻音。鼻腔共鸣指的是利用鼻腔中的声音共鸣。如果所有声音都在鼻腔中共鸣,那么这个声音就是鼻音,或者鼻音太重。除非你在哼歌,或者在发出鼻辅音( M、N、NG )的瞬间,气流不应该从鼻子中流出。为了帮助你感受鼻腔共鸣的声音,并感受气流从鼻子中流出,请尝试以下练习:
Nasal resonance is different from a nasal sound. Nasal resonance involves taking advantage of the sound resonating in the nasal passages. If all the sound resonates in your nasal passages, the sound is a nasal sound or too nasal. Air shouldn’t be moving out of your nose unless you’re humming or for the split second it takes for you to make a nasal consonant (M, N, NG). To help you feel the sounds of nasal resonance and feel the air moving out of your nose, try the following exercise:
哼唱几句歌曲,感受嘴唇周围的嗡嗡声。
哼唱是延长M辅音。你应该能感觉到鼻腔里这个辅音的嗡嗡声或共鸣。
Hum a few bars of a song to feel buzzing around your lips.
Humming is prolonging an M consonant. You should be able to feel the buzzing or resonance of that consonant in your nasal passages.
尝试捏住鼻子并哼唱。
没用吧?当你闭上嘴巴,捏住鼻子时,空气就无路可逃了。
Try humming while holding your nose.
Doesn’t work, does it? When you close your mouth and hold your nose, the air has no escape route.
再次哼唱,不要捏住鼻子。
注意气流从鼻子呼出。唱歌时,这种呼气方式很好,只要你只在发鼻辅音(例如M、N或NG)时让气流呼出即可。当软腭再次抬起时,气流就会从嘴里呼出,从而形成更平衡的共鸣音。
Hum again without holding your nose.
Notice the flow of the air coming out of your nose. This escape route is just fine when you’re singing, as long as you allow the air to escape only when you’re pronouncing nasal consonants, such as M, N, or NG. When the soft palate lifts again, the air escapes out of your mouth, creating a more balanced resonant tone.
既然您了解了什么是共振,那么弄清楚它不是什么也很重要。关于共振的谬论和误解比比皆是,其中大多数都与什么是共振器(什么不是)有关。
Now that you understand what resonance is, finding out what it isn’t is important, too. Myths and misconceptions about resonance abound, and most have to do with what is — and isn’t — a resonator.
有时声乐老师会说:“让声音在你的鼻窦中产生共鸣。” 这听起来很形象,但即使你能感觉到面部的振动,声音也不会在鼻窦中产生共鸣。声音可能会在鼻腔中产生共鸣,但不会在鼻窦中产生共鸣。你感受到的是共鸣振动,也称为交感共振。老师试图让你做的是探索声音在你面部——或者像一些老师喜欢称呼的那样,在面罩中——的振动。
Sometimes a voice teacher says, “Let the tone resonate in your sinuses.” It’s a nice image, but sound doesn’t resonate in the sinuses even though you may feel the vibrations in your face. Sound may resonate in the nasal passages but not in the sinuses. You’re feeling sympathetic vibrations, also known as sympathetic resonance. What the teacher is trying to get you to do is explore the vibrations of sound in your face — or in the mask, as some teachers like to call it.
你的面具就是你脸的正面。想象一下,你脸上的骨头和皮肤就像一张面具,罩在另一张脸上。你可能会感觉到声音剧烈震动,就像你的脸正面贴了某种金属一样。
Your mask is the front of your face. Think of the bones and skin on your face as a mask sitting on top of another face. You may feel the sound vibrating like crazy as if you have some metal substance on the front of your face.
没有必要纠正那些说“让音色在你的鼻窦中产生共鸣”的人。只要继续探索共鸣,每个人都会受益。
No need to correct someone who says, “Let the tone resonate in your sinuses.” Just keep exploring sympathetic resonance, and everyone wins.
“位置”这个词容易让人误解。你可以想象和感受,但你无法真正地把一个音色放在任何地方。“位置”是声乐老师常用的一个词,它并非全是坏事。他们真正想要的是你探索这些感觉,并从你的歌声中获得尽可能共鸣的音色。他们可能会说,要聚焦声音才能获得最大的共鸣。想想你是如何聚焦手电筒以获得强烈清晰的光束的。保持你的声音聚焦,要知道聚焦通常被称为“放置”或“定位”。记住,这些想象可以帮助你获得你想要的声音。
The word place is misleading. You can visualize and feel, but you can’t literally place a tone anywhere. Place is a common word voice teachers use, and it’s not all bad. What they really want is for you to explore the sensations and get the most resonant tone possible from your singing voice. They may say to focus the sound to get the most resonance. Think about how you focus a flashlight to get a strong, clear beam of light. Keep focusing your sound, and know that focusing is often called placing or placement. Remember, these images can help you achieve the sound you’re trying to produce.
同样令人困惑的是,你并非会在同一个位置感受到每个音色。同样,你可以集中注意力,尝试在同一个位置感受声音。你可能更多地感觉头部或头顶的振动是头声,而胸腔的声音则更多地感觉是胸腔。在头部感受胸腔的声音要困难得多,所以“把音色放在完全相同的位置”很难。努力在所有音色中寻找亮点并集中注意力,然后记住那种感觉,无论它在哪里。
Also confusing is the fact that you don’t feel every tone in the same location. Again, you can focus and try to feel sound in the same place. You probably feel head voice vibrations more in your head or on the top of your head, and you feel chest voice in your chest. Feeling the sounds of chest voice in your head is much harder, so “placing the tones in the exact same location” is tough. Work to find brilliance and focus in all tones, and then remember that feeling, no matter where it is.
前段时间,我和一位很棒的导演合作,他一直让我把音色放在嘴唇外面。当他最终说“对了,就是那个位置”时,我感觉不到声音在嘴唇附近。我意识到我必须找到正确的声音,注意我在哪里感觉到了它,并记住它的感觉。记住,每个人都是不同的。我感觉到振动的地方,你可能不会。努力达到音色的品质,并记住你感觉到的振动是由此产生的。
Some time ago, I worked with a wonderful director who kept asking me to place the tone outside my lips. When he finally said, “That’s right; that’s the place,” I didn’t feel the sound anywhere near my lips. I realized that I had to find the correct sound, notice where I felt it, and remember what it felt like. Remember that every body is different. Where I feel a vibration, you may not. Work to achieve the quality of tone, and remember that the vibration you feel is a result of this.
舌头必须移动来形成元音和辅音,所以它不能一直处于向下状态。释放舌头的紧张感与保持舌头处于向下状态是不同的。您可以阅读第 5 章中有关释放舌头紧张感的内容。释放紧张感后,您可以移动舌头来形成元音和辅音,而不必上下按压。正如您在第 8 章中读到的,您的舌头会拱起以发出某些元音。有时拱起位于舌头的前部,有时位于舌头的后部。如果您试图一直保持舌头处于向下状态,最终可能会使元音发音变得闷闷不乐。到时候让舌头发挥作用会更容易。
The tongue has to move to shape vowel sounds and consonant sounds, so it can’t stay down all the time. Releasing tongue tension is different from keeping the tongue down. You can read about releasing tongue tension in Chapter 5. After releasing the tension, you can move the tongue to shape vowel sounds and consonant sounds without pressing up or down. As you can read in Chapter 8, your tongue arches to make certain vowels. Sometimes the arch is in the front of the tongue, and sometimes it’s in the back of the tongue. If you’re trying to keep your tongue down at all times, you may end up muffling your vowels. Allowing your tongue to do its job when the time comes is easier.
张开嘴唱歌是件好事。打开口腔后部的空间非常好。但是,嘴张得太开并不好,因为声音会扩散。下巴下垂得太低实际上会封闭后部的空间。有关打开下颌的说明,请参阅第 5 章。要找到合适的空间,将中指和无名指并拢,一根手指放在另一根手指上。手指与地面平行,将两根手指放入口中,位于牙齿之间,观察唱“啊”时这个空间如何改变声音。创造空间,然后移开手指。如果嘴张得太大,真的会适得其反。张开嘴让声音发出来,但不要露出扁桃体,无论它们多么美丽。
Opening the mouth for singing is good. Opening the space in the back of your mouth is excellent. Opening your mouth too far isn’t good, however, because the sound spreads. Dropping the chin too far actually closes off the back space. See Chapter 5 for an explanation about opening the jaw. To find the right space, put your second and third fingers together with one finger on top of the other. With your fingers parallel to the floor, place your two fingers in your mouth between your teeth, and see how that space changes the sound when you sing ah. Create the space and then remove your fingers. You really can have too much of a good thing if you open your mouth too wide. Open your mouth to let the sound come out, but don’t show your tonsils, no matter how beautiful they are.
确实,如果吞掉元音,就会发出向后的声音,这不太好。然而,如果只想着尽可能地把声音向前推进,就能发出尖锐的声音。你可能想用这种声音来演绎角色的声音,但我不建议每首歌都这样做。歌曲中共鸣的多样性很重要。作为一名演员,你需要创造出各种各样的声音来展现你正在讲述的故事——每首歌都有一个故事要讲述。请参阅第18章关于表演和创造旅程的内容。
It’s true that if you swallow your vowels, you create a backward sound, which isn’t so great. However, by thinking only of projecting your voice forward as much as possible, you create a piercing sound. You may want to use that sound for a character voice, but I don’t recommend doing it for every song. Variety in resonance is important in a song. As an actor you want to create a variety of sounds to represent the story you are telling — every song has a story to tell. See Chapter 18 about acting and creating a journey.
“微笑能保持音准”的另一个谬论是扬眉毛来保持音准。很多人认为扬眉毛能产生一种上扬的效果,有助于保持音准。问题是,这种上扬会造成不必要的紧张——而且,它会让你看起来总是一脸惊讶。微笑也是如此。微笑是一件美好的事情,但它会在唱歌时给你的面部造成不必要的紧张。微笑通常会将嘴角拉向耳朵,并收紧口腔内的肌肉。如果你能想象微笑时脸颊轻轻上扬,眼睛后方张开,你仍然可以运用这个方法。
The other counterpart of the smile-to-stay-on-pitch myth is raising your eyebrows to stay on pitch. Raising your eyebrows creates a lift that many people believe helps you stay on pitch. The problem is that this lift can cause unnecessary tension — plus, it makes you look surprised all the time. The same is true about smiling. A smile is a beautiful thing, but it can cause unnecessary tension in your face while singing. Smiling usually pulls the corners of the mouth toward the ears and tightens the muscles inside the mouth. You can still use this idea if you think of a smile gently lifting up the cheeks and opening behind your eyes.
你可能也尝试过把嘴唇外张来集中音色。这能改变声音,但你不能总是依赖可爱的鱼嘴来发出清脆的声音。通过探索共振,让你的嘴唇变圆,从而形成元音,找到明亮的共振音。阅读第5章了解更多关于音色匹配的信息,以及第8章关于元音的信息。如果你的音色很好,元音也很精准,你就不需要收紧任何东西来提高音色。
You may also have explored pushing the lips out to focus a pitch. It changes the sound, but you can’t always depend on adorable fish lips for ringing sounds. Find the bright resonant sound by exploring sympathetic vibrations so your lips can round to shape the vowels. Read Chapter 5 for more information about matching pitch and Chapter 8 about vowels. If your pitch is good and your vowels are precise, you don’t need to tighten anything to help the pitch.
第八章
Chapter 8
本章内容
IN THIS CHAPTER
区分后元音和前元音
Knowing your back vowels from your front vowels
放下下巴,用舌头和嘴唇
Dropping your jaw and using your tongue and lips
唱歌并发出不同的元音
Singing and pronouncing distinct vowel sounds
你的小学老师教过你元音是A、E、I、O和U。然而,元音的名称可能和它的发音不同。例如,字母A的名称发音为Ay,但同一个字母可能会有几种不同的发音,这取决于它所在的单词(例如 always 、 after 和 sofa)。这些狡猾的小元音在不同的单词中会以不同的发音伪装自己:美式英语有 15 个元音,而不是 5 个。这个消息听起来可能拗口,但你每天都会不假思索地发出所有 15 个元音。
Your grade school teacher taught you that vowels are A, E, I, O, and U. However, the name of a vowel may differ from its pronunciation. For example, the name of the letter A sounds like Ay, although that same letter can have one of several different sounds, depending on the word it’s in (as in always, after, and sofa). Those sneaky little vowels disguise themselves with different pronunciations in various words: American English has 15 vowel sounds — not 5. Such news may sound like a mouthful, but you make all 15 vowel sounds every day without even thinking about it.
当你发出一个音符时,你会保持元音的发音。因此,如果你想让别人听懂,发出清晰、准确的元音非常重要。而要发出这些准确的元音,你需要知道如何快速地改变元音发音,使用特定的舌形或舌弓,形成特定的唇形,并正确地张开下巴或嘴巴。如果你弄错了元音,“I miss pizza”可能会被读成“A mus pit suh”。所以,如果你不想让后排的杰拉尔丁阿姨把助听器调到尖叫,请查看本章中的练习。我将提供信息,教你如何使用舌头和嘴唇改变大多数元音发音,如何在句子中清晰地发出元音,然后如何唱出元音让别人清楚地理解你的话。
When you hold out a note, you sustain a vowel sound. Therefore, making clear, precise vowel sounds is important if you want to be understood. And to make those precise vowel sounds, you need to know how to shape the vowels quickly, using a specific tongue shape or arch, forming a certain lip shape, and correctly opening the jaw or mouth. If you fudge your vowels, “I miss pizza,” may come out as, “A mus pit suh.” So if you don’t want Aunt Geraldine in the back row turning up her hearing aid until it squeals, check out the exercises in this chapter. I provide you with the information to shape most vowel sounds using your tongue and lips, to pronounce vowel sounds clearly in a sentence, and then to sing vowel sounds to make yourself clearly understood.
你需要为所有元音产生一致的共鸣。即使形状发生变化,共鸣也需要保持稳定。完成本章中的元音练习,练习出精确的元音形状,并查看第 7 章,了解如何在元音变化时保持共鸣的一致性。
You want to generate a consistent resonance for all vowels. Even when the shape changes, the resonance needs to remain solid. Work the vowel exercises in this chapter to produce precise vowel shapes, and check out Chapter 7 for help on keeping the resonance consistent when you change vowels.
现在你有机会探索后元音了。发这些元音时,舌背要拱起或抬起,靠近上颚,同时舌尖保持在下门牙后方,嘴唇保持圆润。你可能对这些元音(例如“哦”、“哦”和“啊”)很熟悉,因为你的唇形很特殊。即便如此,你仍然需要确保舌尖抵住牙齿,并保持嘴唇的张开。继续阅读,学习如何清晰准确地快速地从一个元音切换到下一个元音。
Now you get the chance to explore your back vowels. You make these vowels by arching or raising the back of your tongue near the roof of your mouth, while keeping the tip of your tongue behind your bottom front teeth and keeping your lips rounded. You may be familiar with these vowel sounds (such as ooh, oh, and ah) because of how you shape your lips. Even so, you need to make sure that you keep the tip of your tongue against your teeth and keep your lips poised for action. Keep reading to discover how to quickly move from one vowel sound to the next with clarity and precision.
在表 8-1中,你可以大声朗读每一列,感受并听出几个单词中相同的元音发音。然后,你可以逐页阅读,探索其中的差异。当你理解了每个元音的发音和形状后,你就可以只提取发音,不用考虑单词本身,这样唱歌时就可以快速地从一个元音转换到另一个元音。
In Table 8-1, you can read down each column out loud to feel and hear the same vowel sounds in several words. Then you can read across the page to explore the differences. When you understand the sound and shape of each vowel, you can isolate just the sound, without the word, to move quickly from one vowel sound to the next when you sing.
表 8-1探索后元音
TABLE 8-1 Exploring Back Vowels
|
哦 ooh |
哦 OOh |
哦 oh |
一个 aw |
啊 ah |
|---|---|---|---|---|
|
呼唤 woo |
脚 foot |
老的 old |
我们 awe |
父亲 father |
|
月亮 moon |
拿了 took |
服从 obey |
欺诈罪 fraud |
废话 blah |
|
二 two |
应该 should |
酒店 hotel |
战斗 fought |
胸罩 bra |
|
WHO who |
放 put |
超过 over |
讲话 talk |
广场 plaza |
如果你从左到右阅读表 8-1中的文字,你就能感受到你的
If you read the words across the page from left to right in Table 8-1, you can feel your
即使你的母语是英语,OOh 和 aw 的发音也比较难。练习ooh和OOh能帮助你区分这两个发音。OOh的发音类似于德语中 und 的发音。你还需要练习aw和ah来区分这两个发音。
The OOh and aw sounds are tricky, even if your first language is English. Practicing the ooh and OOh helps you discover how to distinguish between the two sounds. OOh is similar to the sound of und in German. You also want to practice aw and ah to make a difference between these two sounds.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 8-1:后元音。
FIGURE 8-1: Back vowels.
这些词在美国各地的发音大多不同,但“blah”中元音的发音应该与“bra”和“plaza”的发音完全相同。这些发音适用于标准美式方言——也就是美式英语的发音。歌手在演唱民谣、乡村音乐,有时甚至流行音乐时可以使用本地区的方言,但在演唱古典音乐或表演音乐剧时则不能使用。
Most of these words are pronounced differently across the United States, but the sound of the vowel in blah should be the exact same sound for the words bra and plaza. These pronunciations are for standard American dialect — how American English is supposed to be pronounced. Singers can use their regional dialect when they sing folk music, country, and sometimes pop, but not when they sing classical music or perform musical theater.
下表中的句子让你有机会将表 8-1中发现的所有元音形状运用到实际中,并通过一系列相似的元音发音。试着回忆一下每个元音的形状,这样你在唱歌时就能轻松区分它们。
The sentences in the following list give you the chance to put all those shapes you discover in Table 8-1 into action, speaking through a series of similar vowel sounds. Try to recall the shape of each vowel so you can easily differentiate among the vowel sounds when you sing.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 8-2:交替元音以形成精确的唇形。
FIGURE 8-2: Alternating vowels for precise lip shapes.
唱前元音时,舌头会拱起在口腔前部。舌头负责塑造前元音的大部分发音,但要确保嘴唇和舌头都放松,不要紧张。前元音不像后元音那样需要那么多嘴唇动作。
Your tongue arches in the front of your mouth to sing front vowels. Your tongue does most of the work shaping front vowel sounds, but make sure that both your lips and tongue are released and free of tension. The front vowels don’t require as much lip action as the back vowels.
前元音的开口比后元音小得多。我不是说你的嘴巴空间不足,而是这些元音的开口不如后元音大。这听起来可能有点奇怪,但事实确实如此。
The front vowels are much less open than the back vowels. I’m not saying that your mouth lacks space, but these vowels aren’t as wide open as the back vowels. It may sound odd, but it’s true.
表 8-2中的元音被称为前元音,因为发音时舌头会在口腔前部拱起。保持舌尖触碰下门牙,发出元音ee。注意发这个音时舌头在口腔前部是如何拱起的。你还会感觉到舌头两侧上扬。后元音和前元音的另一个区别是,当舌头在口腔前部拱起时,舌头两侧也会抬起并触碰上牙。当你发出元音时,你会感觉到你的
The vowels in Table 8-2 are called front vowels because the tongue arches in the front of the mouth to make these sounds. Keeping the tip of your tongue touching your bottom front teeth, say the vowel ee. Notice how your tongue arches in the front of your mouth when you make the sound. You also feel the sides of your tongue go up. Another difference between back and front vowels is that, when the tongue arches in the front, the sides of the tongue also raise and touch the upper teeth. As you speak through the vowels, you feel your
表 8-2探索前元音
TABLE 8-2 Exploring Front Vowels
|
ee ee |
呃 ih |
哎 ay |
呃 eh |
一个 a |
|---|---|---|---|---|
|
我 me |
吻 kiss |
吃 ate |
床 bed |
问 asked |
|
鹰 eagle |
神话 myth |
获得 gain |
头 head |
已通过 passed |
|
逃跑 flee |
假发 wig |
天 day |
天堂 heaven |
掌握 master |
|
滑雪 ski |
忙碌的 busy |
他们 they |
猜测 guess |
跳舞 danced |
图 8-3显示了前元音的舌弓。
Figure 8-3 shows the arch of the tongue for front vowels.
表 8-2中的一些单词有两个元音。我指的是第一个音节中先出现的元音。
Some words in Table 8-2 have two vowels. I’m referring to the vowel sound that comes first — in the first syllable.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc,
图 8-3:前元音。
FIGURE 8-3: Front vowels.
在这里,你可以把所有前元音组合成句子来练习口语。使用这些元音可以让你在发完辅音后,有机会回到正确的舌弓位置。当你能够自信地唱出每个元音时,你甚至可以用包含前元音的句子来演唱图 8-4中的音乐示例。
Here you can put all the front vowels in sentences to practice speaking. Using these vowels gives you an opportunity to return to the correct arched position of your tongue after moving through the consonants. You can even use the sentences with front vowels to sing the musical example found in Figure 8-4 when you’re confident singing the individual vowels.
唱歌时,你需要发出精准的元音。唱歌需要你快速地从一个元音切换到另一个元音;你必须快速改变舌弓来适应不同的元音。你必须让舌形与音乐的速度同步。如果你单独练习唱元音,你就有机会在加入辅音之前,真正地掌握元音的发音。
You want to make precise vowel sounds as you sing. Singing a song requires you to move quickly from one vowel sound to the other; you must quickly change the arch of your tongue to accommodate the different vowel sounds. You have to make the shape happen at the speed of the music. If you practice singing the vowels alone, you give yourself the chance to really get them solid before you add consonants in words.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 8-4:交替发元音时舌头拱起。
FIGURE 8-4: Arching the tongue while alternating vowels.
第九章
Chapter 9
本章内容
IN THIS CHAPTER
像歌手一样唱辅音
Singing consonants like a singer would
塑造你的嘴、舌头和嘴唇以适应声音
Shaping your mouth, tongue, and lips to fit the sound
让你的嘴唇和舌头进行辅音锻炼
Giving your lips and tongue a consonant workout
你肯定记得小学时就学过,辅音构成了字母表的主体——除了A、E、I、O和U之外的所有字母——但仅仅知道哪些字母是辅音还不足以唱出它们。你必须了解如何用舌头和嘴唇来塑造辅音,这样才能清晰准确地唱出它们。
No doubt you remember from grade school that consonants make up the bulk of the alphabet — they’re all the letters except A, E, I, O, and U — but just knowing which letters are consonants isn’t enough to sing ’em. You have to understand how to shape consonants with your tongue and lips so that you can sing them with clarity and precision.
大多数含糊不清的人没有正确地运用和调整嘴型来发出清晰的辅音。唱歌时也是如此:你需要了解如何清晰地发出辅音,这样听众才能听得清楚。毕竟,歌词是讲述故事的载体。懂得在唱辅音时如何移动嘴唇和舌头,至关重要。
Most people who mumble aren’t working and shaping their mouths properly to make distinct consonant sounds. The same is true when singing: You need to understand how to articulate consonants so that what you sing is clear to the audience. After all, the words of a song are the vehicle for telling your story. Knowing how to move your lips and tongue as you sing consonant sounds makes all the difference.
本章将帮助你清晰地发出这些辅音,而不会显得生硬或紧张。我首先会讲解浊辅音和清辅音,然后会提供一些关于软腭、唇形和组合辅音的演唱技巧。在本章中,我会告诉你如何塑造辅音。(我所说的塑造是指你的嘴型必须以特定的方式塑造才能发出辅音。)
This chapter offers help so that you can clearly enunciate those consonants without sounding forced or tense. I start by telling you about voiced and unvoiced consonants, and then I offer tips on singing soft palate, lip, and combination consonants. Throughout the chapter, I tell you how to shape consonants. (By shaped, I mean that your mouth has to shape itself in a particular manner to pronounce the consonant.)
当你看到本章的表格时,练习阅读整页的单词,比较相似的辅音。阅读每一列,巩固特定的辅音。巩固辅音的发音并识别它与相似发音的区别,可以帮助你在唱歌时快速准确地从一个发音转换到另一个发音。
When you come to the tables in this chapter, practice reading the words across the page to compare similar consonant sounds. Read down the column to solidify that particular consonant sound. Solidifying a consonant’s sound and recognizing its differences from similar sounds helps you to quickly move with precision from one sound to the next while singing.
学生们经常会问唱歌和说话时单词的正确发音。了解浊辅音和清辅音的区别可以帮助你找到答案。
Students often ask about the correct pronunciation of words for singing and speaking. Knowing the difference between voiced and unvoiced consonants can help you figure it out.
读单词结尾的音时,请遵循以下通用规则。如果单词结尾的ed前面有一个浊音(元音或辅音),则ed的发音为D,例如headed、lingered和roamed。但是,如果ed前面有一个清音辅音,则 ed 的发音为T,例如picked、yanked、joked和wrapped。
When you’re sounding out the ends of words, follow these general rules. The ed at the end of a word is pronounced with a D sound if the ed is preceded by a voiced sound (vowel or consonant), as in the words headed, lingered, and roamed. However, if the ed is preceded by an unvoiced consonant, it sounds like a T, as in such words as picked, yanked, joked, and wrapped.
你可能还会注意到,有些辅音根据其后辅音的发音,可以是浊音,也可以是清音。例如,bath中的th是清音,但bathe中的th是浊音。shoe中的sh是清音,visual中的zh是浊音。jump中的j是浊音,但champ中的ch是清音。由于大多数印刷版词典没有提供哪些辅音是浊音、哪些是清音的指南,你可以搜索发音网站,听听特定单词的发音。
You may also notice that some consonants can be either voiced or unvoiced based on what follows them. For example the th in bath is unvoiced, but the th in bathe is voiced. Sh in the word shoe is unvoiced, and zh in the word visual is voiced. J in the word jump is voiced, but ch in the word champ is unvoiced. Because most printed dictionaries don’t include a guide on which consonants are voiced and unvoiced, you can search for pronunciation websites to hear a particular word pronounced for you.
舌尖辅音的发音是通过舌尖触碰齿槽嵴来形成的。如果你用舌头沿着上颚滑动,你首先会感觉到牙齿,然后是一小块牙龈,最后是嵴——齿槽嵴。唯一一个不在齿槽嵴上发出的舌尖辅音是TH,它的发音是通过舌尖触碰上前牙来形成的。继续阅读,了解如何正确地发音舌尖辅音以及如何演唱。练习辅音的发音形状不仅能让你唱歌时更加精准,还能让你在发音时更有信心地将舌头伸得更远。
You shape tip consonants with the tip of your tongue as it touches the alveolar ridge. If you slide your tongue along the roof of your mouth, you first feel your teeth, then a small section of gums, and then a ridge — the alveolar ridge. The only tip consonant sound not made on the alveolar ridge is TH, which is shaped with the tip of the tongue touching the upper front teeth. Keep reading to discover how to shape the tip consonants correctly as well as sing them. Practicing consonant shapes gives you not only the precision you need to sing, but also the confidence that you’re putting your best tongue forward while articulating the tip consonants.
唱歌时,你需要吸一口气,打开喉咙和嘴巴的空间,然后调整元音和辅音的发音形状。在唱歌的最初阶段,你需要做很多准备工作,而且所有这些调整都会随着你唱出歌词而持续进行。练习这些形状,直到你确信自己可以不假思索地发出尖辅音。D 、T和S是最常发错的尖辅音。D经常被错误地发音成T。发D音时,一定要注意聆听自己声音的发音。每天练习这些形状能帮助你快速掌握尖辅音。
To sing a song, you take a breath, open the space in your throat and mouth, and then shape for the vowel and consonant. That’s a lot to do in the first moment of your song, and all these shapes continue as you sing through the words in your song. Until you’re confident that you can shape tip consonants without thinking about it, practice them. D, T, and S are the most commonly mispronounced tip consonants. D is often mistakenly pronounced like a T. Be sure to listen for the sound of your voice when you make the D. Practicing these shapes every day will help you quickly get the hang of tip consonants.
表 9-1中的舌尖辅音的发音需要舌尖触碰齿龈。浊辅音包括D、L、N和Z。T和S不需要发声,因此是清辅音。在发音这些舌尖辅音时,请确保你的
To shape the tip consonant sounds in Table 9-1, the tip of your tongue touches the alveolar ridge. The voiced consonants are D, L, N, and Z. The T and S don’t require any voice, so they’re unvoiced consonants. While shaping these tip consonants, make sure that your
表 9-1中的辅音在其他语言中可能发音不同。对于美式英语,发舌尖辅音时需要舌尖触及齿槽嵴。对于其他语言,发辅音时舌尖可以触及牙齿。在本练习中,练习在发D和T 音时稍微弯曲舌尖,使其触及齿槽嵴;发L和N 音时,练习舌尖平展。
The consonants in Table 9-1 may be pronounced differently in other languages. For American English, you want the tip of the tongue to touch the alveolar ridge for the tip consonants. For other languages, the consonants may be made with the tip of the tongue touching the teeth. For this exercise, practice curving the tip of the tongue slightly so it touches the alveolar ridge for the D and T, and flattening on the alveolar ridge for the L and N.
在表 9-2中,你将探索另一个用舌尖发的辅音——TH。与其他舌尖辅音不同,TH的发音是舌尖触及上前牙边缘,而不是触及齿槽嵴。第一列使用浊音TH,第二列使用清音TH。
In Table 9-2, you explore the other consonant sound made with the tip of the tongue — TH. Unlike the other tip consonants, the TH is made with the tongue tip touching the edge of the upper front teeth instead of the alveolar ridge. The first column uses a voiced TH sound, and the second column uses an unvoiced TH sound.
表 9-2练习TH
TABLE 9-2 Practicing TH
|
浊音 TH Voiced TH |
清音 TH Unvoiced TH |
|---|---|
|
这 this |
剧院 theater |
|
这 the |
薄的 thin |
|
兄弟 brother |
第十 tenth |
练习说出表 9-2中的单词。在塑造表 9-2中的TH时,请注意你的
Practice saying the words in Table 9-2. While shaping the TH in Table 9-2, take note that your
对于美式英语来说,TH音需要气流在舌头上流动。如果美式英语不是你的母语,你可能会将TH音与D 音混淆,因为TH音并非在所有语言中都存在。要发出具体的TH音,请将舌尖抵住牙齿,并吹出少量气流。浊音 TH音由浊音加上气流组成。这与D音不同,D 音会暂时停止气流。
For American English, the TH sound requires air to move over the tongue. If American English isn’t your first language, you may confuse the TH sound with D because the TH sound doesn’t exist in every language. To make the TH specific, put the tip of the tongue against the teeth and blow a little air. The voiced TH sound has the sound of the voice plus air moving. That is different from a D sound, which temporarily stops the flow of air.
辅音R的发音是最难塑造的。R有时会让人感到困惑,因为它有时独立成音,有时又与元音紧密相连。它是一个浊辅音。当你唱出包含辅音R 的单词时,你可能会注意到你的
The sound for the consonant R is the hardest to shape. An R can be confusing because it sometimes stands alone as an individual sound and sometimes is closely linked with a vowel. It is a voiced consonant. When you sing words that contain a consonant R, you may notice that your
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 9-1:唱歌时的尖音辅音。
FIGURE 9-1: Singing tip consonants.
用这种方式唱出舌尖辅音,能帮助你感受正确的舌头运动如何让每个辅音变得容易唱出、容易理解。对着镜子检查自己的舌头运动。听一下浊辅音L、N、D、Z和浊辅音TH。
Singing through the tip consonants in this way helps you feel how the right movement of your tongue makes each consonant easy to sing and easily understood. Watch yourself in the mirror to check the movement of your tongue. Listen for the voiced consonants L, N, D, Z, and the voiced TH.
如果你用舌头沿着上颚滑动,你首先会感觉到牙齿,然后是一小块牙龈、一个脊(牙槽嵴)、一个坚硬的表面,以及最里面的一个柔软的表面。这个柔软的表面就是软腭,你在这里发出软腭辅音。要发出软腭辅音K(如cat或king中的)、G (如go中的)和NG(如 sing 中的),你需要抬起舌后部以接触软腭。舌头接触软腭后,舌后部向下移动,软腭向上抬起。这个动作发生得很快,舌后部在这个运动过程中,保持灵活,不受压力。你会注意到,即使看到字母C,单词中也会出现K 的发音,例如在单词cat 中。
If you slide your tongue along the roof of your mouth, you first feel your teeth and then feel a small section of gums, a ridge (the alveolar ridge), a hard surface, and, at the very back, a soft surface. That soft surface is your soft palate, where you shape the soft palate consonant sounds. To say the soft palate consonant sounds K (as in the words cat or king), G (as in the word go), and NG (as in the word sing), you raise the back of your tongue to meet the soft palate. Just after your tongue touches your soft palate, the back of your tongue moves back down and your soft palate raises back up. The movement happens quickly, and the back of the tongue remains flexible and free of tension during this movement. You notice that the K sound occurs in words even when you see the letter C, as in the word cat.
尽管Q的发音与K相同,但Q也包含在这个列表中。清音Q后面通常跟着W或ooh音,如表 9-3所示。通过练习K和Q ,你就能掌握K后面跟着大多数元音的发音,以及Q后面跟着ooh元音的发音。
The Q is included in this list even though the sound of a Q is the same sound as a K. The unvoiced Q is most often followed by a W or ooh sound, as you see in the list in Table 9-3. By practicing both the K and Q you get the hang of the K sound followed by most any vowel and the Q, which is followed by the ooh vowel sound.
表 9-3练习G、 NG 、 K和Q
TABLE 9-3 Practicing G, NG, K, and Q
|
格 G |
NG NG |
钾 K |
问 Q |
|---|---|---|---|
|
得到 get |
唱歌 sing |
保持 keep |
安静的 quiet |
|
镀金 gild |
挂 hung |
杯子 cup |
引用 quote |
|
血块 gore |
砰 bang |
钥匙 key |
争吵 quarrel |
|
孔雀鱼 guppy |
铛 clang |
跳跃 caper |
女王 queen |
要发软腭辅音,舌尖抵住下齿,舌根上抬,触碰软腭,嘴唇微微张开,以适应辅音前后元音的发音。K辅音清音,G和NG辅音浊音。
To shape soft palate consonants, keep the tip of your tongue against your bottom teeth, lift the back of the tongue to touch the soft palate, and shape your lips for the vowel sounds before and after the consonant. The K consonant is unvoiced, and G and NG are voiced.
在表 9-3中塑造软腭辅音时,注意
While shaping the soft palate consonants in Table 9-3, see to it that
如果您因为英语不是您的母语而无法听清K和NG的发音,请练习唱歌和下沉来感受和听出NG和K之间的区别。NG 是浊音,而K是清音。
If you have trouble with the sounds of K and NG because English isn’t your primary language, practice saying sing and sink to feel and hear the difference between the NG and the K. The NG is voiced and the K is unvoiced.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 9-2:唱歌时软腭辅音。
FIGURE 9-2: Singing soft palate consonants.
在本节中,你可以学习如何用嘴唇发辅音。发辅音P、B、M和W时,要用双唇;发F和V时,要用下唇触碰上牙。发这些音时,要保持牙齿分开,嘴唇闭合。这就像嘴里含着一个鸡蛋,然后闭上嘴唇。
In this section, you can explore making consonants with your lips. Use both lips for the consonants P, B, M, and W, or touch your bottom lip to your top teeth for F and V. To make these sounds, keep your teeth apart and close your lips. It’s similar to having an egg in your mouth and closing your lips.
唇辅音与舌尖辅音不同(有关这些辅音的详细信息,请参阅本章前面的“发舌尖辅音”部分),因为唇部运动而不是舌尖运动。相似之处在于,你可以移动舌尖和嘴唇,而无需移动下巴。掌握如何在闭上嘴唇时保持口腔内空间的张开,有助于你在发出辅音时继续发出圆润的音色。浊辅音包括B、M和W;清辅音为P和WH 。
Lip consonants are different from tip consonants (see the section, “Making Tip Consonants,” earlier in this chapter for details on these consonants) because the lips move instead of the tip of the tongue. The similarity is that you can move the tip of your tongue and your lips without moving your jaw. Figuring out how to keep the space inside your mouth open as you close your lips helps you continue making those round tones as you articulate a consonant sound. The voiced consonants are B, M, and W; P and WH are unvoiced.
在表 9-4中塑造辅音时,你可以感受到你的
While shaping the consonants in Table 9-4, you can feel your
表 9-4练习P、B、M、W和WH
TABLE 9-4 Practicing P, B, M, W, and WH
|
磷 P |
B B |
米 M |
浊音 W Voiced W |
清音 WH Unvoiced WH |
|---|---|---|---|---|
|
流行音乐 pop |
鲍勃 Bob |
钱 money |
穿 wear |
什么时候 when |
|
小狗 puppy |
巴巴 bubba |
音乐 music |
天气 weather |
无论 whether |
|
教皇 pope |
围兜 bib |
母亲 mother |
巫婆 witch |
什么 what |
|
铅笔 pencil |
电灯泡 bulb |
模仿 mimic |
冬天 winter |
耳语 whisper |
在塑造表 9-5中的辅音时,你的
While shaping the consonants in Table 9-5, your
表 9-5练习F和V
TABLE 9-5 Practicing F and V
|
F F |
五 V |
|---|---|
|
父亲 father |
汽 vapor |
|
羽毛 feather |
优质的 vintage |
|
菲利普 Phillip |
空缺 vacant |
你可能已经注意到,不同的辅音可以发相同的音。在表 9-3中,你可以看到不同的单词发K的音(keep、cup)。字母F和PH发F的音。单独的辅音P和PH 的发音不同。你可以在表 9-4中看到用双唇发P的音,在表 9-5中看到只用下唇接触上齿发PH的音。
As you may have noticed, different consonants can make the same sound. In Table 9-3 you see different words that make the sound of a K (keep, cup). The letters F and PH make the sound of F. The P consonant alone makes a different sound than PH together. You can read about the sound of P using both lips in Table 9-4 and PH using only the bottom lip touching the upper teeth in Table 9-5.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 9-3:唱歌时唇音的辅音。
FIGURE 9-3: Singing lip consonants.
有时两个辅音会组合成一个特定的音。知道如何清晰地发音可以让唱歌变得更容易。表 9-6列出的这些音的组合,是唱歌时通过关闭口腔前部空间发出的少数几个音。练习时需要特别注意,才能在不完全关闭口腔后部空间并改变音色的情况下发出这些音。
Sometimes two consonants are combined to make a specific sound. Knowing how to articulate the sound makes it much easier to sing. The combinations of sounds listed in Table 9-6 are the few sounds that are made by closing the space in the front of your mouth when you’re singing. They require special attention in practicing to be able to make the sound without totally closing down the space in the back of your mouth and changing the tone.
表 9-6练习SH、ZH、J和CH
TABLE 9-6 Practicing SH, ZH, J, and CH
|
上海 SH |
郑州 ZH |
J J |
频道 CH |
|---|---|---|---|
|
展示 show |
视觉的 visual |
跳 jump |
嚼 chump |
|
豪华的 plush |
乐趣 pleasure |
六月 June |
选择 choose |
|
店铺 shop |
措施 measure |
年龄 age |
机会 chance |
对于表 9-6中的辅音对,你的
For the consonant pairs in Table 9-6, your
舌头的位置很重要。SH需要你把气吹到牙齿和舌头之间,而CH则是通过将舌尖抵住齿槽嵴来暂时停止气流,然后再吹气。听听第 14 首歌的歌手为你演示。一定要注意 CH 和 Y 的区别。Y是通过移动舌头后部来发的,而CH是用舌尖发的。
The position of the tongue is important. The SH requires you to blow air between your teeth and tongue, whereas you make the CH by momentarily stopping the flow of air by putting the tongue’s tip on the alveolar ridge and then blowing air. Listen to the singers on Track 14 demonstrate for you. Be sure to note the difference between CH and Y. You make Y by moving the back of the tongue, and you make CH with the tip of the tongue.
跟着图9-4中的辅音组合,跟着每个音符下的单词唱一遍。唱完每一个,直到你感觉到从辅音到元音的流畅变化。这样做可以增强你在暂时关闭前部空间的同时,保持后部空间开放的能力。
Sing through the consonant combinations in Figure 9-4, following the words under each note. Sing through each one until you feel the fluid movement from consonant to vowel. Doing so enhances your ability to keep your back space open as you momentarily close the space in front.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 9-4:组合辅音。
FIGURE 9-4: Combining your consonants.
第十章
Chapter 10
本章内容
IN THIS CHAPTER
创建自己的练习计划
Creating your own practice routine
知道何时、何地以及如何练习
Knowing when, where, and how to practice
选择适合您需要的锻炼
Choosing exercises that fit your needs
跟踪你的进度
Keeping track of your progress
也许你梦想着在大舞台上演唱,成为全场焦点,在雷鸣般的掌声后谢幕,并在接受世界最杰出歌手奖时感谢你的经纪人。好吧,我只有一个小问题:你怎么去卡内基音乐厅?练习,练习,再练习。
Maybe you daydream of singing on a big stage, being the star of the show, taking a bow after thundering applause, and thanking your agent as you accept the award for the world’s most fabulous singer. Well, I just have one little question: How do you get to Carnegie Hall? Practice, practice, practice.
唱歌和其他艺术一样,需要持之以恒地练习才能进步。掌握正确的练习方法,是朝着成为明星的梦想不断前进的关键。一次高效的练习包括:热身;进行发声练习,以提升音准、音域、吐字和呼吸;然后将练习成果运用到歌曲中。如果你不确定如何练习唱歌,本章正适合你:我概述了一些我经常给学生的建议,这些建议也适用于我自己的练习。你可以说我有点奇怪,但我喜欢练习。读完本章并意识到练习的好处后,希望你也能有所收获。
Singing is no different from any other art; you have to work at it on a regular basis to improve. Knowing how to practice properly is key to making consistent progress toward that big dream of being the star attraction. A productive practice session consists of physically warming up; doing vocal exercises to improve tone, range, articulation, and breath; and then applying that work to songs. If you aren’t sure how to practice your singing, this chapter is just for you: I outline some of what I routinely suggest for my students and also apply to my own practice sessions. Call me odd, but I love to practice. After reading this chapter and realizing the benefits of practice, hopefully you will, too.
安排好练习时间能大大提高你成功的机会。如果你只有30分钟练习,肯定不想把前20分钟浪费在思考该做什么上。制定一个计划吧。
Organizing your practice session greatly increases your chances of accomplishing something. If you have only 30 minutes to practice, you don’t want to waste the first 20 minutes figuring out what you need to do. Make a plan.
规划练习时间也能让你避免不知所措。我推荐书中很多很棒的练习,可以帮助你提升技巧。如果你考虑唱歌的所有细节,你可能会感到沮丧。明确每次练习的目标,可以让你每次专注于两到三项技能。如果你真的在这些方面下功夫,就能快速添加新的练习。当然,你不必计划太多时间,以免没有探索的空间。继续阅读,探索练习中可以包含的其他元素。
Planning your practice time also keeps you from getting overwhelmed. I suggest many great exercises throughout the book for you to use to improve your technique. If you think about all the details of singing, you’ll get discouraged. Pinpointing your goals for each practice session enables you to focus on two or three skills in each session. If you really work those areas, you can add new exercises quickly. You don’t have to plan your time so much that you have no room for exploration, of course. Read on to discover other elements to include in your practice session.
如果你不确定练习时该做什么,也不用担心。学生们经常会问一些关于练习的问题,所以我会在你开始练习之前在这里解答。了解在哪里练习、何时练习以及练习时使用什么,能让你走上正确的技术之路。
Don’t worry if you aren’t sure what to do when you practice. Students frequently ask questions about practicing, so I answer them here before you start practicing. Knowing where to practice, when to practice, and what to use when you practice puts you on the right track for technique work.
首要问题在于地点。你的练习场地可以是任何你能够独自一人且能集中注意力的地方。你只需要一个在热身和准备歌曲时能舒适活动的空间。无论你在哪里练习,每周都要抽出一些时间站起来练习几次。
The number-one question concerns location. Your practice space can be anywhere you can be alone and can concentrate. You simply need space to move around comfortably during the warm-up and when you set the scene for your song. Regardless of wherever else you do your practicing, devote some of your time to standing up and practicing several times a week.
任何适合你的时间都是最好的。每天安排一个特定的练习时间和时长。如果你在日历上预留出练习时间,你练习的可能性就会更高。许多歌手由于生物钟的原因,晚上练习效率更高。你也可以在午餐时间或下班前或下班后练习。为了最大限度地集中注意力,请在日常练习期间关掉电视、手机和电脑。
Anytime that works for you is best. Schedule a specific time and duration for practicing each day. If you allot time on your calendar to practice, you’re more likely to practice. Many singers practice more efficiently at night because of their body clocks. You can also practice on your lunch hour or right before or after work. To maximize your concentration, turn off the TV, cellphone, and computer during your daily practice time.
练习时间的长短取决于你的专业水平。对于唱歌新手来说,每天练习15到20分钟就能受益。逐渐增加到每天30到60分钟。你的声音就像身体里的其他肌肉群一样:它会疲劳,需要休息。只要你的声音在休息几个小时后恢复正常,你的练习就走在正确的轨道上了。勤加练习就能进步。
The length of the practice session depends on your level of expertise. Someone who is new to singing can benefit from practicing 15 to 20 minutes a day. Gradually increase your practice time to 30 to 60 minutes per day. Your voice is like any other muscle group in your body: It becomes fatigued and needs rest. As long as your voice is back to normal after a few hours of rest, your practicing is on the right track. Improvement happens with frequent practice.
当然,你需要用嗓子来练习唱歌。但是,你还需要一些其他工具:
Of course you need your voice to practice your singing. However, you need some other tools as well:
音乐:提升唱歌技巧可以很有趣。请参阅第16章,了解如何选择歌曲。在练习时,我建议你选择一些能够帮助你运用章节中提到的技巧的歌曲,以及一些可以自娱自乐的歌曲。附录A列出了一些歌曲,它们可以锻炼你的不同技巧,例如呼吸协调或音域。
为身体肌肉和歌唱声部进行热身,有助于增强肌肉的灵活性,并延长练习时间。请参阅以下关于热身的部分,了解一些建议。
Music: Developing your singing technique can be fun. See Chapter 16 for help choosing a song. For your practice session, I recommend you choose songs to help you apply the technique you read about in the chapters as well as some songs to sing for fun. See Appendix A for a list of songs that work on different aspects of technique such as breath coordination or range.
Warming up the muscles in your body and singing voice help your muscles feel flexible and help extend your practice session. See the following section on warming up for some suggestions.
良好的发声热身可以让你的身体变得灵活,让你的声音准备好练习唱歌。让你的身体热身(伸展和放松你的身体)持续大约五分钟——足够让你的身体变得灵活和热身。然后花十分钟进行发声练习,让你的歌唱肌肉热身(哼唱、唇颤音、警报声)。你需要找到适合你的方法;有些人比其他人需要更长的热身时间。如果我已经有几个星期没有练习了,有时我需要 10 分钟来让我的身体活跃起来,而 15 分钟只是为了让我的声音热身以进行练习。在我唱歌很多的时候,我可能只需要几分钟就可以准备好练习,因为我的声音热身很快。当我的声音和身体的肌肉热身并且感觉足够灵活以应对更剧烈的歌唱练习时,我知道我已经热身并准备好练习了。
A good vocal warm-up gets your body limber and your voice ready to practice singing. Make your body warm-up (stretching and limbering up your body) last about five minutes — long enough to get your body flexible and warm. Then spend the next ten minutes on vocal exercises that get your singing muscles warm (humming, lip trills, sirens). You need to discover what works for you; some people take longer to warm up than others. If I haven’t been practicing for a few weeks, I sometimes need 10 minutes to get my body awake and 15 minutes just to get my voice warmed up to practice. During times when I’m singing quite a bit, I may need only a few minutes to get myself ready to practice because my voice warms up quickly. I know I’m warmed up and ready to practice when the muscles in my voice and body are warm and feel flexible enough to tackle more strenuous singing exercises.
无论一天多么轻松,都要从伸展运动开始你的练习。你需要让整个身体都准备好唱歌,而不仅仅是唱歌时的肌肉。为了让呼吸在唱歌时真正流动,你需要将呼吸与下半身连接起来。我推荐以下伸展运动,从头部开始,逐渐移动到脚趾。记住,在每一个伸展环节,移动时都要保持呼吸。
No matter how easy the day is, start your practice session by stretching out. You want to get your entire body ready to sing, not just your singing muscles. For the breath to really move as you sing, you need to be connected to your lower body. I recommend the following stretching routine, which begins with your head and moves to your toes. For each segment, remember to continue breathing as you move.
摇动全身,释放所有紧张情绪。
活动一下,直到感觉关节僵硬感消失。用第三章的练习来改善你的姿势,释放压力。
Shake out any tension in your entire body.
Wiggle around until you feel the stiffness in your joints melting away. Use the exercises in Chapter 3 to help your posture and to release tension.
把头向前放。
缓慢地将头向胸部下沉,并吸气。呼气时,让头部再下沉一点。重复几次,每次都让头部下沉得更深,以拉伸颈部肌肉。吸气后,将头部抬回平衡位置。
Release your head forward.
Gently drop your head toward your chest at a slow pace and inhale. As you exhale, allow your head to drop a little farther. Repeat this several times, allowing the head to drop farther each time to stretch the neck muscles. Inhale and lift your head back to its balanced position.
动动你的头。
把头向左转,再向右转。转动头部,从左侧开始,将下巴靠近胸部的位置向右侧转动。除非你以前做过这种动作,否则不要把头向后转。你的颈椎可能无法很好地适应头部向后转动的压力。
Move your head.
Turn your head to the left and to the right. Roll your head around, starting from the left side and rolling your chin near your chest to the right side. Don’t roll your head back unless you’ve worked with this kind of movement before. The vertebrae in your neck may not respond well to pressure from your head rolling backward.
伸长脖子。
轻轻地将左耳垂向左肩,暂停。吸气,呼气时,将头稍微向肩膀方向垂下。重复几次,然后移到右肩重复同样的动作。
Stretch your neck.
Gently drop your left ear toward your left shoulder and pause. Inhale and, as you exhale, drop your head a little farther toward your shoulder. Repeat several times, and then repeat the sequence over your right shoulder.
活动脸部的所有肌肉。
收紧它们然后放松,感受脸上的能量流动。
Move all the muscles in your face.
Tighten them and then release to feel the flow of energy in your face.
把舌头伸进伸出。
将其尽可能地伸出,然后再移回。您也可以舔嘴唇——用舌头在嘴外面画圈,以拉伸舌头的肌肉。
Move your tongue in and out.
Stick it out as far as possible and then move it back in. You can also lick your lips — move your tongue in a circle around the outside of your mouth to stretch the muscles in your tongue.
活动一下肩膀。
抬起肩膀,然后向下压。肩膀向前,然后向后。肩膀朝一个方向画圈,然后反向画圈。保持胸部稳定并打开。
Work your shoulders.
Lift your shoulders and then push them down. Move your shoulders forward and then back. Make circles with shoulders in one direction, and then reverse. Keep your chest steady and open.
以圆圈方式摆动一只手臂(然后是另一只手臂)。
挥杆时,扭动手指和手腕,让血液顺着手臂流下。小心,小心家具。换另一只手臂重复此动作。
Swing one arm (and then the other) in circles.
As you swing, wiggle your fingers and wrist to get the blood flowing all the way down your arm. Be careful; watch out for furniture. Repeat with the other arm.
伸展你的身体侧面。
左臂举过头顶,身体向右倾斜。倾斜时,感受左侧肋骨之间的肌肉打开。反向:抬起右臂,伸展右侧身体。
Stretch your side.
Lift your left arm over your head and lean to the right. As you lean, feel the muscles between your ribs opening on your left side. Reverse: Lift your right arm and stretch your right side.
摆动臀部来放松紧张感。
很多人臀部都会紧张。现在不用太用力,放松一下。让臀部前后摆动,也可以画圈。
Swing those hips around to loosen that tension.
Many people hold tension in their hips. You don’t have to be tough now. Let ’em loose. Let the hips rock back to front, as well as around in circles.
热身你的腿。
踮起脚尖,然后放回地面。单腿站立,轻轻地将另一条腿向外甩动,并伸展脚踝。反向运动,让另一条腿也跟着动起来。扩大站姿,将臀部向左伸展,拉伸右腿内侧。换右侧重复。
Warm up your legs.
Stand on your toes and then lower your feet back to the floor. Stand on one leg and shake out the other and gently stretch your ankle. Reverse to get the other leg in motion. Widen your stance and stretch your hip to the left to stretch the inside of the right leg. Repeat on the right side.
热身时让血液循环起来有助于你专注于手头的任务。如果你在将呼吸与歌曲联系起来方面有困难,请尝试在热身或练习时多进行一些身体活动。连接身体的一种方法是投篮球老奶奶投篮。弯曲膝盖,将手臂放在两腿之间,然后用双手将看不见的球向上抛。这个动作可以让你与下半身联系起来,并真正帮助你连接能量来唱出更高的音符。如果你投一个普通的罚球,你会抬起身体来唱出音符。我希望你“想着向下”——向下释放你的双腿而不是向上推——来唱出音符。有关释放身体和收紧双腿的更多信息,请参阅第 3 章。你可以使用任意数量的不同身体动作。
Getting your blood pumping while warming up helps you focus on your task at hand. If you’re having trouble connecting your breath to your song, try being more physical in your warm-up or practice session. One way to connect your body is to shoot basketball granny shots. Bend your knees, drop your arms between your legs, and throw the invisible ball up with two hands. This motion gets you connected to your lower body and really helps you connect energy to sing higher notes. If you shoot a regular free throw, you lift your body up to sing the note. I want you to “think down” — releasing down into your legs instead of pushing up — to sing the notes. See Chapter 3 for more information about releasing down into the body and engaging your legs. You can use any number of different physical movements.
如果你今天下午要参加一场比赛,你会直接到场开始跑步吗?我表示怀疑。你会花几周甚至几个月的时间来为这场重要的比赛做准备,而且在比赛前,你会热身。这对于唱歌来说可能听起来有点奇怪,但请记住,你的歌喉和身体的其他部位一样,是由肌肉组成的。这些肌肉需要特定的热身。棒球运动员在大赛前会花时间进行拉伸,而你在练习之前也需要拉伸你的歌喉。
If you were scheduled to run a race this afternoon, would you just show up and start running? I doubt it. You’d work for weeks or months to prepare your body for the big event, and just before the race, you’d warm up your body. That may sound odd for singing, but remember, your singing voice is made up of muscles just like any other part of your body. These muscles need a specific type of warm-up. Baseball players spend time stretching before the big game, and you need to stretch your singing voice before practicing.
发声热身包括发出声音来唤醒你的嗓子,为歌唱做好准备。一些不错的热身运动包括:
Vocal warm-ups include making sounds to get your singing voice awake and ready to work out. Some good choices of warm-ups include the following:
不要让任何人的评论阻碍你唱歌。每个人都能通过练习唱好歌。召开一次家庭会议,向家人解释,你不会容忍任何关于你唱歌的粗俗评论。告诉家人,他们认为的玩笑是绝对不可接受的。要强硬!不要留情面!教育你的朋友和家人尊重你的练习时间。
Don’t let anyone’s comments discourage you from singing. Everyone is capable of singing well with practice. Have a family meeting to explain that you won’t tolerate tacky comments about your singing. Inform family members that what they think of as joking is really unacceptable. Be tough! Take no prisoners! Train your friends and family to respect your practice time.
这太重要了!这太重要了!好奇的人们想知道,你到底在练习什么?又该如何练习?我以为你永远不会问。你可以在本书中找到许多练习来帮助你提升技巧。通过分解练习环节,你可以养成一个涵盖你声音各个方面的练习计划。
This is huge! This is big! Inquiring minds want to know, what do you actually practice and how do you practice it? I thought you’d never ask. You can find many exercises throughout this book to help you develop your technique. By breaking down the practice session, you develop a routine that touches on all areas of your voice.
第 3 章中的姿势练习提供了一些有趣的方式来塑造良好的姿势。阅读完第 3 章后,选择你最感兴趣的练习并将它们写在你的练习日志中。练习日志是一个笔记本或日志(纸质、手机或平板电脑或电脑上),你可以用来记录练习过程。在每一页上,列出日期和你需要进行的练习。这是你练习的待办事项清单。练习结束后,写下你的发现——什么有效,什么困难——以及关于下次练习要包含哪些内容的任何想法。进行一周的练习后,评估你的进度。你可能已经准备好添加更多姿势练习了。翻到第 3 章,找到更多针对姿势其他方面的练习,并将它们添加到你的第二周练习日志中。你可以对每一章应用相同的过程。找到一些练习来开始你的技术之旅,并随着你的进步每周添加新的练习。
The exercises for posture in Chapter 3 offer fun ways to create great posture. After reading Chapter 3, choose the exercises that appeal the most to you and write them in your practice journal. A practice journal is a notebook or journal (on paper, on your phone or tablet, or on your computer) that you use to take notes on your practice sessions. On each page, list the date and what exercise you need to work on. This is your to-do list for your practice session. After your practice session, write down what you discovered — what worked and what was difficult — and any thoughts about what to include in the next practice session. After working an exercise for a week, evaluate your progress. You may be ready to add more exercises for posture. Flip to Chapter 3 and find more exercises that work on another aspect of posture, and add them to your practice journal for week two. You can apply this same process for each chapter. Find exercises to begin your technical journey and add new exercises weekly as you progress.
选择唱歌练习似乎比姿势练习更难。虽然你可以选择任何练习来练习,但你可能会发现从从每章的开头开始,寻找适合你水平的练习。如果你从未上过任何课程,或者没有任何唱歌经验,那么你来对地方了。欢迎!我撰写这些章节时考虑到了你的学习进度。对唱歌有一定了解的读者可以从章节中任何适合自己水平的点开始学习。如果你几年没有进行过任何唱歌训练,可以从章节开头开始,然后加快学习速度来复习你的技能。
Picking singing exercises may seem more difficult than posture exercises. Although you can pick any exercise to practice, you may find it easier to start at the beginning of a chapter and look for the exercises that start at your level. If you’ve never had any lessons or any experience singing, then you’re at the right place. Welcome! I wrote the chapters with your progression in mind. Readers who have some knowledge of singing may start at any point in the chapter that suits their level of expertise. If you haven’t done any singing training in a few years, start at the beginning of the chapter and move at a faster pace to refresh your skills.
在任何练习中,你都需要热身,让你的身体和大脑做好专注唱歌的准备。热身之后,练习各个技巧方面:姿势、呼吸、元音和辅音的发音、共鸣和音色的产生。选择适合你音域的练习,练习能提升听力的歌唱模式,并寻找一些能将表演和演唱相结合的歌曲。将你的练习分成几个特定的部分进行练习,可以让你在每个方面都有所提升,而不会因为沮丧而把歌曲扔到窗外。
In any given practice session, you need a warm-up to get your body and brain ready to focus and sing. Following the warm-up, work on each area of technique: posture, breath, articulation of vowels and consonants, resonance, and tone production. Choose exercises that work your range, sing through patterns that develop your ear, and find songs that combine acting and singing. Breaking your session into specific areas to work on allows you to grow in each of these areas without chucking your music out the window in frustration.
每次练习也要设定目标。以下是每天练习的示例目标:
Also set goals for each practice session. Consider these sample goals for each day’s practice:
星期一和星期二:
Monday and Tuesday:
星期三和星期四:
Wednesday and Thursday:
周五和周六:
Friday and Saturday:
星期日:
Sunday:
您可以选择任何一天休息,但请确保每周休息一天不练习。
You can choose any day to rest, but be sure to take one day off from practicing each week.
正确的练习意味着你正在持续进步。你运用书中学到的技术信息,唱歌时你的声音感觉良好。你的声带没有痛觉感受器,所以你不能假设做错事就会感到疼痛。如果你确实感到疼痛,可能是你用力过猛,挤压了声带周围的肌肉。
Correct practicing means that you’re making consistent improvement. You’re applying the technical information that you gather in the book, and your voice feels good as you’re singing. Your vocal cords don’t have pain receptors, so you can’t assume that you’ll feel pain if you do something wrong. If you do feel pain, you may be squeezing too hard and constricting the muscles surrounding your vocal cords.
练习后感到疲倦是正常的。你可能有一些朋友可以连续唱几个小时而不感到疲倦,但他们可能已经花了很多年的时间练习唱歌来增强耐力。如果你的嗓子在唱了一段时间后感到疲倦,不必担心。然而,如果一个月后,你的嗓子仍然很快感到疲倦,那么你的练习就不对了。如需帮助,请复习第三章中的释放紧张的练习、第四章中的呼吸练习,尤其是第六章中的音色练习。
Feeling tired after practicing is normal. You may have friends who can sing for hours without feeling tired, but they may have spent many years singing to build up their endurance. If your voice gets tired after a reasonable amount of time singing, don’t worry about it. After a month, however, if your voice still gets tired quickly, then you’re not doing something right. For help, review the exercises for releasing tension in Chapter 3, breathing exercises in Chapter 4, and especially the onset of tone exercises in Chapter 6.
每天录制练习过程,监测进步。第一次听自己的录音时,你可能会不太喜欢。这是非常正常的反应。表演艺术家在录音室投入巨资,但他们在家录制的声音可能并不完美。第三次听到自己的录音时,你就会习惯这种声音。聆听细节,例如元音的精准度。它听起来像“啊”还是“啊”?这两个元音很相似,但你需要能够在练习和歌词中区分它们。录下自己说“啊”和“啊”的声音,这样你就能弄清楚如何感受和听到它们之间的区别。然后回过头再听录音。你还可以聆听无声的吸气(没有喘气)、音域之间的平滑过渡、你选择的用于在歌曲中创造声乐旅程的变化的声音,或动态变化。
Record your practice session each day to monitor improvement. The first time you listen to a recording of yourself, you may not like it. That’s a perfectly normal reaction. Performing artists spend big bucks in the recording studio, but they may not sound so perfect at home. The third time you hear yourself on a recording, you’ll be used to the sound. Listen for the details, such as the precision of the vowel. Does it sound like an ah or uh? The two vowels are similar, but you need to be able to distinguish them in the exercise and in the text of the song. Record yourself saying ah and uh so that you figure out how to feel and hear the difference. Then go back and listen to the recording. You can also listen for silent inhalation (no gasping for air), smooth transitions between registers, varied sounds that you choose to create a vocal journey in your song, or dynamic variations.
当你阅读书中每个练习的内容时,不妨尝试一下。当你尝试了一周后,你就可以决定它是否太难了,不适合做。大多数情况下,你只有尝试几次才能看到练习的好处。只有走出舒适区,你才会知道自己的能力。有些练习需要一些时间才能掌握,而有些练习只需要几天就能掌握。第一次尝试练习时,你可能会想快速浏览一下说明,因为你想测试一下。我完全理解。确保你稍后再回过头来,阅读完整的说明,并完成每个步骤。你跳过的步骤可能是练习中最重要的步骤。
As you read about each exercise in the book, give it a whirl. When you’ve tried the exercise for a week, then you can decide whether it’s too crazy to do. Most of the time, you can’t see the benefit of an exercise until you’ve tried it a few times. You won’t know what you’re capable of until you move out of your comfort zone. Mastering some of the exercises takes some time, whereas other exercises take only a few days to master. The first time you try an exercise, you may be tempted to just skim through the explanation, because you want to test it out. I totally understand. Make sure that you go back later, read the entire explanation, and work through each step. The step you skip may be the most important one of the exercise.
对于每个重要概念,我都提供了几个练习。对于视觉型学习者,我提供了一个可视化练习。动觉型学习者(通过运动学习)可以从运动描述中受益。听觉型学习者(最擅长用耳朵学习的人)在练习时会被告知要听什么。如果你不知道自己喜欢哪种,那就全部尝试一下吧!
For each big concept, I offer several exercises. For those of you who are visual, I offer a visualization exercise. Kinesthetic types (those who learn through movement) can benefit from the movement description. Aural types (folks who learn best using their ears) will be told what to listen to as you practice the exercise. If you don’t know which you prefer, try them all!
本书的在线曲目www.dummies.com/go/singing3e包含大量精彩的练习,循序渐进,难度递增。如果您是资深歌手,可以跳过一些后期练习。如果您是初学者,我建议您从本书的开头开始,逐步完成每一章。这可能需要一些时间,但您会从中获得很多乐趣。请将曲目放在您的练习区方便取用的地方。练习按难度排序。
This book’s online tracks at www.dummies.com/go/singing3e have so many wonderful exercises that progress and gradually get harder. If you’re a more advanced singer, skip to some of the later exercises. If you’re a beginner, I recommend that you start at the beginning of the book and work your way through each chapter. It may take a while, but you’ll have plenty of fun along the way. Keep the tracks handy in your practice space. The exercises go in order of difficulty.
这些曲目可能看起来很枯燥,因为它们没有太多花哨的元素,但钢琴和人声的简洁性让你可以完全专注于你的技巧。当你的技巧真正达到巅峰时,尽情播放卡拉OK歌曲,让你的朋友们惊叹不已。在那之前,利用这些曲目稳步提升你的技巧。
The tracks may seem boring because they don’t have many bells and whistles, but the simplicity of the piano and voices allows you to completely focus on your technique. When your technique is really rocking, whip out the Karaoke songs and wow your friends. Until then, use the tracks to steadily work on your technique.
在曲目中,你可以听到各种类型的歌手,从说唱歌手、流行歌手、音乐剧歌手、古典歌手,到高音歌手,以及各个年龄段、不同经验水平、拥有不同嗓音类型的歌手。大多数歌手都是我的学生,还有一些同事,他们可以在曲目中创造出特定的声音供你欣赏。我用书中的练习来训练从初学者到最终获得格莱美奖的歌手。
On the tracks, you hear many types of singers from a rapper, pop singers, musical theater and classical singers, belters, and singers of all ages and experience levels with different voice types. The majority of the singers were my students, and a few were colleagues that could made specific sounds for you to hear on the tracks. I used the exercises in the book to train beginners all the way up to singers who went on to win Grammy Awards.
你可以在曲目中听到不同类型的歌手演唱各种酷炫的声音。我介绍这些歌手是为了让你知道,通过练习可以提升你的演唱技巧。你在曲目中听到的声音,是普通歌手练习时发出的声音,无论他们演唱什么风格的音乐。
You can hear these different types of singers making all kinds of cool sounds on the tracks. I tell you about the singers so you know that you can develop your technique with practice. The sounds you hear on the tracks are what normal singers sound like when they practice regardless of what style of music they perform.
第 3 部分
Part 3
在本部分中……
IN THIS PART …
第十一章
Chapter 11
本章内容
IN THIS CHAPTER
弥合寄存器之间的差距
Bridging the gap between registers
用胸腔共鸣发声来降低音色
Using your chest voice for your lower pitches
发现你的头声是什么样的
Discovering what your head voice feels like
掌握假声
Getting a handle on falsetto
优雅地进出中间
Switching into and out of the middle gracefully
你拥有由三个不同声部组成的美妙歌喉。许多描述声部结构的术语被称为音区,这些术语可能会令人困惑。本章将详细介绍你日常会用到的声部:胸腔声部、中腔声部和头腔声部。正如你可能猜到的那样,你声部中部的音符构成了你的中腔声部,声部下部的音符构成了你的胸腔声部,声部上部的音符构成了你的头腔声部。
You have one glorious singing voice made up of three distinct parts. Many terms for parts of the voice are called registers and those terms can be confusing. This chapter narrows down to the main parts of your voice that you’ll use every day: chest voice, middle voice, and head voice. As you may guess, the notes in the middle part of your voice make up your middle voice, the notes in the lower part of your voice make up your chest voice, and the notes in the upper part of your voice make up your head voice.
为了更好地了解声音的每个部分,您必须认识到声音的每个区域与其他区域的关系。
To get a better idea of each part of the voice, you have to recognize how each area of the voice relates to the others.
特定的肌肉负责产生头声和胸声;这些肌肉群协同工作,产生中声。在本章中,你将探索头声和胸声,以及这些肌肉群的平衡——中声。然后,你将探索如何将歌唱声部的各个部分组合起来,创造出一种混音效果。假声是由头声肌肉产生的,但声带比头声的声带更细。
Specific muscles create head voice and chest voice; these muscle groups work together to produce middle voice. In this chapter, you explore head voice and chest voice as well as the balance of these muscle groups — middle voice. You then explore the mix you can create from combining the parts of your singing voice. Falsetto is made with head voice muscles but the vocal cords are thinner than in head voice.
你的中声是胸腔共鸣和头声之间的桥梁。对于女性来说,中声听起来像是胸腔共鸣的轻盈版本,以及头声更饱满、更厚重的版本。对于男性来说,中声听起来比胸腔共鸣更轻盈,比假声更饱满。在线曲目中的歌手会为你演示这些声音,以便你能够亲自探索这些声音和感受。你可以探索你的中声,如果你的中声缺乏活力,甚至可以自己构建一个。继续阅读,了解你的中声是什么样的,以及何时使用它。
Your middle voice is the bridge between your chest voice and head voice. For women, middle voice feels like a lighter version of chest voice and a fuller, thicker version of head voice. For men, the middle voice feels lighter than chest voice and fuller than falsetto. The singers on the online tracks demonstrate these sounds for you so you can explore the sounds and sensations for yourself. You can explore your middle voice or even build one if yours is missing in action. Continue reading to get an idea of what your middle voice feels like and when to use it.
无论你是谁,你的中声与胸声和头声的关系都是一样的。但你的中声如何运作、何时运作以及需要注意哪些过渡,都取决于你是女性还是男性。
The relationship of your middle voice to chest and head voice is the same, no matter who you are. But how your middle voice works, when it works, and what transitions to watch out for all depend on whether you’re a woman or a man.
图 11-1显示了女性中声部的平均音域。一开始,你的中声部可能会比较弱,因为你要努力摸索如何在不过渡到头声或胸声的情况下达到这些音色。根据歌曲的不同,你可以把中声部调到你想要的最低点。如果你的声音在极低的音符上显得过于模糊或无力,你可能需要过渡到胸声。本章中的练习可以帮助你了解如何以及何时进行这种过渡。
Figure 11-1 shows you the average female middle voice range. In the beginning, your middle voice may be weak as you try to figure out how to reach these notes without transitioning to head or chest voice. Depending on the song, you can take your middle voice as low as you want. If your voice gets too fuzzy or weak on the really low notes, you may need to transition into chest voice. The exercises in this chapter help you figure out how and when to make that transition.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-1:女声中音范围。
FIGURE 11-1: Female middle voice range.
图 11-2显示了男声的平均中声区。(男高音是例外,他们可以过渡到高于图 11-2中音域的中声。)男声的中声区不如女声宽广;当你进入这个音域时,你可能感觉不到很大的变化。因此,了解你的中声感觉很重要,尤其是从高音或低音过渡的时候。你的中声没有胸腔共鸣那么厚重,也不像头声那样轻盈旋转;它是一种介于两者之间的声音和感觉,在你的嘴和喉咙周围振动。如果你试图从底部向上推一个沉重的声音,你可能需要更长的时间才能牢牢控制高音。在本章中,你将有机会锻炼你的声音,以便在必要时轻松保持中声。
Figure 11-2 shows you the average male middle voice range. (Exceptions are tenors who may transition into middle voice higher than the range in Figure 11-2.) The men’s middle voice range isn’t as large as the women’s range; you may not notice a huge change when you enter this range. So understanding how your middle voice feels is important, especially when you transition from high notes or low notes. Your middle voice is less thick than chest voice and not light and spinning like head voice; it’s a sound and sensation that’s in between, vibrating around your mouth and throat. If you try to push up a heavy sound from the bottom, it may take you longer to gain secure control over your high notes. You get an opportunity in this chapter to work out your voice so you can easily maintain middle voice when necessary.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-2:男声中音范围。
FIGURE 11-2: Male middle voice range.
以下练习将帮助你练习中声部。跟随在线曲目练习www.dummies.com/go/singingfd3e,感受你的中声部位置以及用中声部唱歌的感觉。练习中声部时,想象一下直接用力唱歌。胸腔共鸣时,感觉更重,就像你把一个加重的声音拉高或推高,而不是直接用力。头腔共鸣时,感觉更轻,就像你把音色放低或放低。中声部的共振振动低于头腔共鸣,但高于胸腔共鸣。如果你有疑问,可以用胸腔共鸣或头腔共鸣来感受差异。
The following exercises give you a chance to work your middle voice by itself. Follow along with the online tracks at www.dummies.com/go/singingfd3e and get a feel for where your middle voice is and how it feels to sing in middle voice. For middle voice, think of singing straight out. In chest voice, the sensations are heavier as if you pull up or push up a weighted sound instead of coming straight out. For head voice, the sensation is lighter as if coming down to the note. The vibrations of resonance for middle voice are lower than head voice but higher than chest voice. If you’re in doubt, sing the pattern in chest or head voice to feel the difference.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-3:将其拆除。
FIGURE 11-3: Taking it down.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-4:逐步下降。
FIGURE 11-4: Descending by step.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-5:从中间滑过。
FIGURE 11-5: Gliding through the middle.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-6:沿中间声部的四度移动。
FIGURE 11-6: Moving along the four in middle voice.
胸腔共鸣是指嗓音中较厚重、较低音部分的声音,唱歌时会震动胸部。胸腔共鸣比头声共鸣感觉重得多,共鸣产生的振动也低得多。你可能偶尔会感觉到胸腔共鸣,无论你是否愿意。用胸腔共鸣唱歌的诀窍在于知道如何以及何时使用它。如果你想知道胸腔共鸣的高音应该达到什么高度——或者如果你还没听过相关介绍,甚至想知道如何找到适合自己的胸腔共鸣——请继续阅读,了解如何拥有强劲而可控的胸腔共鸣。
Chest voice is that thicker, heavier sound in the lower part of your voice that makes vibrations in your chest when you’re singing. The sensation is much heavier in chest voice than head voice, and the vibrations of resonance are much lower. You may have felt it take over a time or two, whether you wanted it to or not. The trick to singing in chest voice is knowing how and when to use it. If you need to find out how high to take your chest voice — or even how to find your chest voice, if you haven’t been introduced — continue reading to find out how to have a strong but controlled chest voice.
用胸腔声部唱歌会让人感觉非常震撼。但是,你必须公平地对待你的中音,不要让胸腔声部过早占据主导地位。探索你的音域,这样你就知道什么时候过渡到胸腔声部才算太早。
Singing in chest voice can be such a powerful feeling. However, you have to be fair to your middle voice and not let chest voice take over too soon. Explore your range so you know how soon is too soon to transition to chest voice.
在图 11-7中,你可以看到女性胸声的平均音域。胸声是女性声音中较强的部分——通常比中声强——你可能需要加强你的中声。你需要了解你的胸声音域。如果你把胸声音色得太高,你的中声就会被削弱。请记住,您随时可以提前(但最好不要晚于图 11-7中给出的范围)切换出胸腔共鸣。
In Figure 11-7, you can see the average female chest voice range. Chest voice is a strong part of the female voice — often stronger than the middle voice — and you may want to strengthen your middle voice. You need to know your chest voice range. If you take chest voice too high, you can weaken your middle voice. Remember that you can always switch out of chest voice sooner, but preferably not later, than the range given in Figure 11-7.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-7:女性胸声范围。
FIGURE 11-7: Chest voice range for women.
图 11-8显示了男性胸腔声音的平均音域。大多数男性说话时都用胸腔声音,所以他们通常已经拥有很强的胸腔声音。如果你觉得自己的胸腔声音比较弱,可以尝试提升自己的胸腔声音,并探索胸腔声音和中音之间的区别。
Figure 11-8 shows the average range of chest voice for men. Most men speak in chest voice, so they often already have a strong chest voice. You can develop yours if you think it’s weak, and explore the difference between your chest voice and middle voice.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-8:男性胸声范围。
FIGURE 11-8: Chest voice range for men.
你可能已经知道胸腔共鸣音是什么了(如果不知道,请参阅本章前面的“聚焦你的胸腔共鸣音域”部分),但你可能仍然不确定它到底是什么。最好的辨别方法是去感受。尝试以下一些练习,感受胸腔共鸣音的振动。
You may already know what’s supposed to be your chest voice (if not, see the section “Zeroing in on your chest voice range,” earlier in this chapter), but maybe you still aren’t sure what it actually is. The best way to tell is to feel it. Try some of the following exercises so you can feel those chest voice vibrations.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-9:第四次唱歌。
FIGURE 11-9: Singing fourth.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-10:提高胸腔共鸣效果。
FIGURE 11-10: Bringing up chest voice.
歌唱中较高的部分被称为头声,因为大多数人用头声唱歌时,头部或头骨会震动。为了唱出歌曲中那些非常高的音,头声是必不可少的。对一些人来说,中音部分的感觉可能与高音部分没有太大区别。当你从中音部分转换到头声时,你需要让声音更轻。换句话说,你需要把头声想象成更轻——喉咙的用力或压力更小。你可能会感觉嘴巴张开,声音就飞出来了,或者感觉声音降到了最低。
The higher part of your singing voice is called head voice because most people feel the vibrations in their head or skull while singing in head voice. Having a head voice for singing is necessary to access those really high notes in the song. For some people, the notes in the middle part of your voice may not feel much different from the higher notes. As you move from the middle part of your voice to your head voice, you want to lighten the sound. In other words, you want to think of head voice as if it’s lighter — lighter in the amount of effort or pressure in your throat. You may feel like you open your mouth and the sound just comes flying out or as if you come down to the note.
正如女性难以在胸腔嗓音和中音之间过渡一样,男性在过渡到头声时也面临困难。经过一些练习,男性可以成功地掌握头声的这个部分。
Just as women struggle with the transition between the chest voice and middle voice, men have a tough transition moving into head voice. With some practice, men can successfully maneuver in this area of the voice.
图 11-11显示了女性头声的平均音域。女士们,在头声达到相当高的音高之前,您可能感觉不到头声和中声之间的太大区别,因为随着音色升高,振动会逐渐向上移动到头部。随着音色下降,您也会感觉到轻微的变化,随着振动逐渐从头部向下移动,声音会更加饱满。您可能想探索一些跳跃的模式,以便真正感受到振动的变化。女中音在头声方面可能比男中音更难掌握。女高音。(更多关于女中音和女高音的区别,请参阅第二章。)在过渡到头声时,你可能会发现一些音符一开始不太可靠。继续练习,你就能找到如何运用头声的方法,并运用本章中的建议。
Figure 11-11 shows the average female head voice range. Ladies, you may not feel much difference between your head voice and your middle voice until you get quite high in your head voice, because the vibrations gradually move up into your head as you go higher in pitch. You also feel a slight change as you descend, and the sound is fuller as the vibrations gradually move lower out of the head. You may want to explore some of the patterns that leap around so you can really feel how the vibrations change. Mezzos may have more of a struggle with head voice than sopranos. (See Chapter 2 for more information about the differences between a mezzo and soprano.) At the transition to head voice, you may find some notes unreliable in the beginning. Keep practicing, and you’ll figure out how to work your head voice, using the suggestions in this chapter.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-11:女性头声范围。
FIGURE 11-11: Female head voice range.
图 11-12显示了男性头声的平均音域。对于男性来说,练习头声对于唱歌时保持良好的平衡至关重要。但我建议你在尝试将头声推得太高之前先练习一下假声。如果你在练习高音区时感觉声音有些吃力,可以练习假声(参见本章后面的“发现你的假声”),直到你能轻松进出假声区,这样本章的练习会更轻松。你也可以回到中声练习,直到你的中声部分能够轻松自如地练习。当你理解了中声的感受后,你就能更容易地理解在上行音区练习头声时是否用力过猛。
Figure 11-12 shows the average male head voice range. For men, working on head voice is important for a good balance when you sing. But I recommend that you work on your falsetto before attempting to push your head voice too high. If your voice feels strained as you work on the higher patterns, working your falsetto (see “Discovering your falsetto” later in this chapter) until you can move in and out of it makes the exercises in this chapter more comfortable. You can also go back to the middle voice exercises until that part of your voice works easily. When you understand the feelings of middle voice, you can more easily understand when you’re pushing too hard for head voice in ascending patterns.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-12:男性头声范围。
FIGURE 11-12: Male head voice range.
男女歌手都能感受到头声演唱时头部或头骨的振动。在本章探索头声的过程中,请将手放在头顶,也就是头顶的后部。你也可以将手放在颈后,感受随着音色升高而产生的振动。随着音色的升高,你可能会感觉到振动从颈部或嘴部传到头部。当你唱到很高的时候,你可能会感觉到头顶的振动。歌手可以在不同位置感受到振动,但你可以探索随着音色的升高,振动是如何变化的。用头声演唱时,也要注意口腔的感觉。你可能会感觉到声音在上颚你的嘴巴、硬腭,甚至是脸部前方。所有这些振动位置都能帮助你找到头声的感觉。
Male and female singers feel the vibrations from singing in head voice in their head or skull. As you explore your head voice in this chapter, place your hand on the crown of your head, which is the top back part of your head. You can also put your hand on the back of your neck to feel the vibrations as you move up in pitch. As you ascend, you may feel the vibrations move from your neck or mouth to your head. When you get really high, you may feel the vibrations on the very top of your head. Singers can feel the vibrations in different locations, but you can explore how the vibrations change places as you ascend in pitch. Also be aware of the sensations in your mouth as you sing in head voice. You may feel sound on the roof of your mouth, on your hard palate, or even in the front of your face. All these vibration locations help you find the sensations of head voice.
找到你的对齐方式。
请参阅第 3 章以获取有关查找对齐的提示。
Find your alignment.
See Chapter 3 for tips on finding your alignment.
深呼吸。
如果您需要有关呼吸工作的更多详细信息,请查看第 4 章。
Take a breath.
Check out Chapter 4 if you need more details on breath work.
抬起软腭的同时打开口腔和喉咙后部的空间。
第 7 章告诉您有关此步骤需要了解的内容。
Open the space in the back of your mouth and throat while lifting your soft palate.
Chapter 7 tells you what you need to know about this step.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-13:使用闭元音。
FIGURE 11-13: Working with closed vowels.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-14:头声旋转。
FIGURE 11-14: Spinning out in head voice.
男声与女声相似,有三个音区:胸声、中声和头声。男歌手的不同之处在于假声——歌声中较轻的部分,听起来更女性化。假声的音域与头声相同,但声带较薄,就像拉长的橡皮筋。假声听起来比头声更轻或更高。如果你尝试唱非常高的音,你甚至可能会变成假声。
The male voice has three registers, similar to the female voice: chest voice, middle voice, and head voice. The difference for the male singer is falsetto — the lighter part of your singing voice that sounds feminine. The notes in your falsetto are in the same range as your head voice, but the vocal cords are thin, like a stretched-out rubber band. Falsetto feels lighter or higher than your head voice. If you attempt to sing really high notes, you may even flip into falsetto.
假声是嗓音中一个重要的组成部分,需要加强假声来增强头声。在歌唱训练初期,你的头声可能比较弱;你可以先用假声练习高音,等到力量增强后,再用头声练习同样的音。当负责头声的肌肉变得更强壮时,你就能用头声唱出那些你以前用头声或假声唱得勉强的音符。体验你能用假声唱出的声音,并加强你的假声。你可能听过声乐老师把假声称为“头声”,但我认为两个术语同时使用更容易理解,这样你就能确切地知道应该唱什么样的声音。
Falsetto is an important area of your voice and needs to be developed to strengthen the head voice. Your head voice may be weak in the beginning of your singing training; you can explore sounds on high notes by singing in your falsetto and then later, when you have more strength, work on the same notes using your head voice. When the muscles that create head voice get stronger, you’ll be able to sing the same notes in head voice that you originally could sing only precariously with your head voice or in falsetto. Experience the sounds that you can make with falsetto, and strengthen your falsetto. You may hear voice teachers referring to falsetto as your head voice, but I think using both terms is easier so you know exactly what kind of sounds to make.
为了避免混淆,我使用“假声”来指代男士,因为当男性转为假声时,这一点很明显,但对于女性来说则不那么明显。
To avoid confusion, I use the term falsetto for the guys because it’s obvious for males when they flip into falsetto, but not as obvious for the women.
如果你曾经模仿过女人说话或唱歌,那么你已经找到了自己的假声。你的假声可能不是很强,但在唱歌时好好练习一下假声很重要,这样你就能强化你的头声。
If you’ve ever imitated a woman, by either speaking or singing, you’ve found your falsetto. Your falsetto may not be really strong, but giving it a good workout for singing is important so that you can strengthen your head voice.
当你找到自己的假声(参见上一节)后,用假声唱歌能让你了解它应该是什么感觉,并帮助你强化假声和头声。尝试图 11-15至11-18中的练习,体验用假声唱歌的感觉。
When you find your falsetto (see the previous section), singing in it gives you an idea of how it’s supposed to feel and helps you strengthen both your falsetto and your head voice. Experience how it feels to sing in your falsetto by trying the exercises in Figures 11-15 through 11-18.
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© John Wiley & Sons, Inc.
图 11-15:检查你的假声。
FIGURE 11-15: Checking out your falsetto.
本节列出的练习模式可以帮助你从假声练习到中声和胸声。由于你专注于练习假声,这项练习可能看起来不太合适。然而,目标是利用假声的轻松感觉,让你的音符在中声中也能轻松自如地发出声音,而不会感到压力。
The patterns listed in this section help you work from your falsetto down to your middle voice and chest voice. This exercise may seem out of place because you’re focusing on your falsetto. However, the goal is to use the easy feeling of falsetto and get your notes in your middle voice to have that same ease of sound without pressure.
图 11-16可以让你从假声向下切换到中声,这样你就能真正感受到它们之间的区别。体验到这种切换之后,你可以通过从假声向下滑动而不是向下倾斜来实现平滑的过渡。你可能需要想象低音就在你面前,以防止低音下降并在音符之间造成很大的裂痕。当你的中声音符感觉轻松时,你希望找到从假声轻松过渡到头声的相同感觉。长期的好处是,你将能够轻松地演唱一首从中声过渡到头声的歌曲或乐句,因为你知道如何让“橡皮筋”变细。这种转变可能在一开始,这很正常。随着过渡越来越顺畅,你就能更轻松地完成转换。现在先让它发生碰撞。完全避免碰撞会让你感觉不到两种声音之间的差异。
Figure 11-16 allows you to flip out of falsetto down into your middle voice so you can really feel the difference between them. After you experience the flip, you can develop smooth transitions by gliding down from falsetto instead of falling down. You may want to visualize the lower note in front of you to prevent the bottom note from falling down and creating a big crack between the notes. When the notes in your middle voice are feeling easy, you want to find that same sensation of moving from falsetto to head voice with ease. The long-term benefit is that you’ll be able to easily sing a song or musical pattern that moves from middle voice to head voice because you know how to thin out your rubber band. The shift may be bumpy in the beginning, and that’s normal. As the transitions get smoother, you can make the shift more easily. Go ahead and let it bump for now. Preventing the bump entirely prevents you from feeling the difference between the two sounds.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-16:转出假声。
FIGURE 11-16: Flipping out of falsetto.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-17:从假声中滑出。
FIGURE 11-17: Gliding down out of falsetto.
按照练习说明,探索从较重的胸声或中声过渡到较轻的假声的感觉。这项练习的好处是,通过练习,你可以找到如何过渡到假声或头声的方法。你的头声会更有力,因为你知道如何在不增加重音的情况下唱出音符。压力或厚度,就像拉橡皮筋一样,橡皮筋仍然很厚。当你对前面的图案的进展感到自信时,可以继续练习图11-18中的图案。
Follow the directions for the exercises and explore the sensations of moving into the lighter sound of falsetto from the heavier feelings of chest voice or middle voice. The benefit of this exercise is that, with practice, you can figure out how to make the transition up to falsetto or your head voice. Your head voice will be stronger because you’ll know how to sing the notes without adding heavy pressure or thickness, as if you were pulling a rubber band and it remained thick. Move on to the pattern in Figure 11-18 when you feel confident of your progress in the previous patterns.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-18:滑至假声。
FIGURE 11-18: Sliding up to falsetto.
中声是头声和胸声之间的桥梁,所以你需要能够轻松地进出中声。你可能总是能感觉到两个音域之间的过渡,但目标是不要听到两者之间有太大的变化。所以你需要弄清楚在哪里进行这些过渡。比较你的中声、胸声和头声的声音和感觉是最简单的方法。想要了解如何平稳而有目的地过渡,避免声音的剧烈变化,请继续阅读。
Middle voice is the bridge between head voice and chest voice, so you want to move easily in and out of middle voice. You may always feel a transition between the two registers, but the goal is to not hear a big change between the two. So you need to figure out where to make those transitions. Comparing the sound and feel of your middle voice to your chest voice and head voice is the easiest way to figure that out. To find out how you can transition smoothly and purposefully to avoid drastic changes in your sound, keep reading.
知道何时进行中声过渡可能很棘手。当你唱出每个下行或上行的音型时,注意感受——你应该能够感觉到你的胸腔共鸣想要接管或放弃中声。了解你的中声部音色过低,胸腔共鸣部音色过高,可以让你找到从中声部过渡到胸腔共鸣部音色的过渡点。练习这些练习可以帮助你顺利地完成这些过渡。
Knowing when to make the middle voice transitions can be tricky. As you sing each descending or ascending pattern, notice how it feels — you should be able to feel your chest voice wanting to take over or give up to middle voice. Knowing what’s too low for your middle voice and what’s too high for your chest voice allows you to figure out where you need to make the transition from middle voice to chest voice. Practicing the exercises helps you make those transitions smoothly.
以下练习旨在帮助你从中声部过渡到胸声部。由于你刚刚找到自己的中声部,你可能不确定胸声部和中声部在感觉上有什么区别。图 11-19中的模式让你有机会探索声音、振动和感觉上的差异。
The following exercises work on your transition from middle voice into chest voice. Because you just found your middle voice, you may not be sure what the difference is in the feeling between chest voice and middle voice. The pattern in Figure 11-19 gives you the chance to explore the differences in sound, vibrations, and feeling.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-19:平滑过渡。
FIGURE 11-19: Smoothing the transitions.
本节练习从胸腔声部回到中声部。一开始你可能会觉得有点难。就像增重比减重容易一样,从中声部转换到胸腔声部通常也更容易,因为这就像变胖然后增重一样。从胸腔声部转换到中声部就好比减肥一样。练习中声部模式,直到你对中声部的声音和感觉有信心为止。然后,你可以进行这个从中声部转换到胸腔声部的练习。当你真正有信心时,可以尝试图 11-20中的练习。
The exercise in this section moves from chest voice back up to middle voice. Doing it may be difficult for you in the beginning. Just as it’s easier to gain weight than to lose it, moving from middle voice to chest voice is often easier because it’s like getting thicker and gaining weight. Moving from chest voice to middle voice is about losing weight. Practice the middle voice patterns until you’re confident of the sounds and feelings of middle voice. You can then work this exercise, which moves from middle voice to chest voice. When you’re really confident, try the exercise in Figure 11-20.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-20:创建胸腔共鸣的连奏线。
FIGURE 11-20: Creating a legato line in and out of chest voice.
提升到头声意味着你必须放下厚重的胸腔声部或中音,让声音更轻盈。一开始你可能需要用力过猛,才能在不挤压喉咙的情况下让声音更轻盈。关键在于感受声音在头部更高处的振动。(参见本章前面的“感受头声”部分。)
Ascending to head voice means that you have to let go of the thick weight of chest voice or middle voice and lighten up the sound. You may have to go overboard at first to lighten the sound without squeezing your throat. The key is to feel the sound vibrating higher in your head. (See the “Feeling head voice” section, earlier in this chapter.)
中声部过高会使头声部无法得到应有的锻炼。如果你试图将中声部的声音推得太高,你的声音过渡也会变得更加困难。过渡音会变得不可靠,因为你会试图用很重的声音演唱它们,而保持这种沉重的声音可能很棘手。你可以选择在某首歌中何时切换到头声部,但在练习中,你应该尽早切换,以保持头声部的强劲。
Taking the middle voice too high keeps the head voice from getting its fair share of the workout. The transitions in your voice also become more difficult if you try to push a middle voice sound too high. The transition notes won’t be dependable because you’ll try to sing them heavy, and maintaining that heavy sound can be tricky. You can make a choice of when to change to head voice in a particular song, but in the exercises, you want to keep the head voice strong by switching as early as possible.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-21:从中间声部到头声部。
FIGURE 11-21: Working from middle voice to head voice.
从头声过渡到中声时,声音和感觉会随着音阶的下降而逐渐变得浑厚。如果头声过低,声音会变得轻柔;如果中声部分的声音过轻,则难以让人听清。尝试本节中的练习,让从头声到中声的过渡更加顺畅。
When moving from head voice to middle voice, the sound and sensations gradually thicken as you move down the scale. Taking head voice too low creates a light sound, and if the sound in the middle part of the voice is too light, it’s harder to make yourself heard. Try the exercises in this section to smooth that transition from head voice to middle voice.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-22:旋转停止。
FIGURE 11-22: Spinning down.
混音是现代音乐中常用的一种声音,您可以在广播或音乐剧中听到。如果中声是胸声和头声之间的过渡,并使用了这些肌肉群的平衡,那么当您选择改变这种平衡时就会发生混音。如果中声是头声和胸声各占一半,混音可能会改变这两个百分比。例如,您可能希望使用 70% 的胸声和 30% 的头声,以创建比中声更饱满或更厚重的声音。有时,您可能希望混音为 40% 的胸声和 60% 的头声;如果混入更多的头声,这种声音会比胸声更轻,但比头声更饱满。您可以通过改变共鸣、重量和气息压缩的组合来创建这些变化。混音适用于几乎任何风格的演唱,但在古典音乐中并不常用。
Mix is a sound commonly used in contemporary music that you hear on the radio or in musicals. If middle voice is a transition between chest voice and head voice and uses a balance of those muscle groups, then mix occurs when you choose to vary the balance. If middle voice is a 50/50 balance of head voice and chest voice, the mix may shift those percentages. For example, you may want to use 70 percent chest voice and 30 percent head voice, to create a sound that is fuller or thicker than middle voice. Other times you may want the mix to be 40 percent chest voice and 60 percent head voice; with more head voice mixed in, this sound is lighter than chest voice but fuller than head voice. You create these variations by changing the combination of resonance, weight, and breath compression. Mix is appropriate for almost any style of singing, but it isn’t as commonly used in classical music.
这些术语可能会令人困惑,但我希望您了解您可能从其他歌手那里听到的短语:
The terminology can be confusing, but I want you to know the phrases you may hear from other singers:
没有测量尺度可以告诉您百分比;您会发现如何听到或感觉到声音中的重量或共振的量,并知道它是一种混合。
No measuring scale can tell you the percentages; you discover how to hear or feel the amount of weight or resonance in a sound and know that it’s a mix.
男士们,随着你的假声越来越强,是时候进行一些混合,强化那些曾经纯粹是假声的音符了。如果你使用50%胸声和50%头声的混合,你就是在描述你声音中间部分的变化。你也可以改变这个比例,更多地使用胸声或头声,或者混合使用不同的比例。根据你音域的水平,混合比例可以是头声为主,也可以是胸声为主。
Men, as your falsetto gets stronger, it’s time to mix it up to strengthen the notes that were once purely falsetto sounds. If you use a blend of 50 percent chest voice and 50 percent head voice, you’re describing what happens in the middle part of your voice. You can also vary that percentage to use more chest voice or head voice, or mix up the percentage. Depending on where you are in your range, the mix can be more head voice–dominated or chest voice–dominated.
唱单音时,你可以先用假声,然后增加更快的气流和更高的共鸣,使音符以头声为主。这种以头声为主的混合音在男声的高音区更常见;以胸声为主的混合音在胸声区更常见。如果你在唱单音时增加一些重量或厚度,并保持较低的共鸣,你就能变成以胸腔共鸣为主的混音。男声混音与女声混音类似,因为混音时你可以改变共振的权重和位置。
In singing just one note, you can start in falsetto and then add faster airflow and a high resonance to make the note head voice-dominated. This head voice–dominated mix is more common at the higher end of the male voice; a chest voice–dominated mix is more common in the chest voice range. If you add some weight or thickness as you sing the note and keep the resonance low, you move into a mix that is chest voice–dominated. Mix for the male voice is similar to mix for the female voice because you can vary the amount of weight and location of vibrations of resonance you use when you mix.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-23:滑入混合物。
FIGURE 11-23: Sliding into a mix.
女士们,您可以在本节中探索女声混音。女声混音是一种声音,当你想让声音的中段更浑厚时可以使用。混音几乎适用于所有演唱风格,但在古典音乐中并不常用。
Ladies, you can explore the female mix in this section. The female mix is a sound that you can use when you want to make a thicker sound in the middle part of your voice. Mix is appropriate for almost any style of singing but isn’t as commonly used in classical music.
当你想让中声部的声音更厚重时,可以使用女声混音,这样你就需要练习中声,直到它足够强劲。先进行说话声练习,这样你就能掌控声调的起始,然后再处理混音。(更多关于说话声的内容,请参阅第13章。)当你不想使用带状声带(请参阅第13章)或想探索不同的声音来表达歌词时,混音是合适的。有些歌曲不需要厚重的胸腔声带,而是需要像混音那样饱满饱满的声音。
You can use the female mix when you want to make a thicker sound in the middle part of your voice, so you want to work your middle voice until it’s quite strong. Work on the speaking voice exercises so you have command over the onset of tone, and then tackle mix. (See Chapter 13 for more on your speaking voice.) Using mix is appropriate when you don’t want to use a belt sound (see Chapter 13) or when you want to explore different sounds to express the text of your song. Some songs don’t need a heavy chest voice sound, but instead need a sound that’s rich and full, like a mix.
要找到你的混音,请尝试与你通常用中声演唱相反的方法。通常,从中声唱到头声时,音色上升时,声音要逐渐变轻。为了增强你的混音效果,我希望你避免在音色上升时,将声音变轻,从而进入头声。
To find your mix, try the opposite of what you normally do to sing in middle voice. To sing from middle voice to head voice normally, you gradually lighten the sound as you ascend in pitch. To strengthen your mix, I want you to avoid lightening the sound into head voice as you ascend.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-24:混合。
FIGURE 11-24: Mixing it up.
在混音中唱歌是一个需要你认真考虑的选择。在探索混音的过程中,要持续练习中声向头声的过渡,这样当你选择这样做时,你仍然可以让声音在音色上升时逐渐变轻。
Singing in a mix is a choice that you want to consciously make. As you explore the mix, continue to work on your middle voice transitions into head voice so that you can still make the sound gradually lighten as you ascend in pitch when you choose to do so.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 11-25:胸声和头声为主的混音交替出现。
FIGURE 11-25: Alternating between chest and head voice–dominated mix.
第十二章
Chapter 12
本章内容
IN THIS CHAPTER
用你的声音改变方向
Shifting gears with your voice
唱遍你的音域
Singing throughout your range
在你的音域范围内运行:流行音乐
Running ’round your range: Pop
在整个音域内演唱,并成功完成音域转换,可以进一步提升你的声乐技巧。音域是指歌手唱出的最高音和最低音,以及介于两者之间的所有音符。声部音域包括胸腔声部、中腔声部和头腔声部;就像汽车换挡一样,在音域内演唱时,音域也会发生变化。(有关音域的更多信息,请参阅第2章;有关音域(你可能知道它们是声音的不同部分)的信息,请参阅第11章。)
Singing throughout your range while making successful register transitions further fine-tunes your vocal skills. Range is the highest and lowest pitch that a singer sings and all the notes in between. The vocal registers are chest voice, middle voice and head voice; as with shifting gears in a car, you switch registers as you sing through your range. (See Chapter 2 for more information on range and Chapter 11 for information on registers, which you may know as the different parts of the voice.)
你的总体歌唱目标是扩大音域,让最高音和最低音更有力,并提高歌唱的灵活性。为了实现这些目标,你的练习音域和表演音域是不同的。例如,我练习唱高音,但在公共场合我可能不会唱出所有这些音。相反,我坚持在公共场合唱出我音域中最强的音,但我会持续练习,扩大音域,让我的歌声更灵活——能够在音符之间快速切换。
Your overall singing goals are to extend your range, make your highest and lowest notes stronger, and increase your singing agility. In striving to meet these goals, then your range for practicing and your range for performing are different. For example, I practice singing high notes, but I may not sing all those notes in public. Instead, I stick to singing the strongest notes in my range in public, but I keep practicing to extend it and make my singing voice more agile — able to move quickly between notes.
在本章中,你将有机会拓展自己的练习范围,让你的音符更加有力,嗓音更加灵动。你甚至可以练习一些riff,让你的流行风格更加火爆。在收听在线曲目时,请记住,你不必今天把所有练习都唱一遍。先练习几个节奏型,直到你感觉舒服为止,然后再练习一些难度更高的节奏型。
In this chapter, you have an opportunity to extend your own practice range so that your notes grow stronger and your voice becomes more agile. You even work on some riffs to make your pop style really hot. As you listen to the online tracks, remember that you don’t have to sing every exercise today. Work a few patterns until you’re comfortable and then move on to some of the harder ones.
如果你还没有机会,可以查看第11章,了解如何在声音中过渡。了解过渡点能让你更容易地找到如何成功地演唱一首歌曲。当你了解了过渡点,就可以选择一些技巧,例如以下技巧,来帮助你在练习时唱出这些过渡:
If you haven’t had a chance yet, check out Chapter 11 for information on where to make transitions in your voice. Knowing where to make transitions makes it easier to figure out how to successfully sing a song. When you know the transition points, you can choose tactics, such as the following, to help you sing through the transitions when you practice:
当您在本章中唱出这些模式时,使用这些策略来帮助实现更平滑的音域转换。
As you sing patterns throughout this chapter, use these tactics to help make smoother register transitions.
搞清楚如何用你声音中的每个音区唱歌是唱歌的第一步。第二步是在音区之间流畅地转换,最后一步是向两个方向扩展你的音域。因为大多数歌手只要在他们的音域内用较低的声音说话就已经能唱出低音了,所以唱歌练习通常侧重于唱高音。99% 向我寻求帮助的歌手都想专注于唱高音,所以在本章中,我提供了一些练习你更高音域的练习。练习高音甚至可以帮助你加强低音;你会发现,通过练习高音,你的音域会在两个方向上扩展。你可以通过第 11 章中的胸声练习来探索唱低音;如果你的声音能够向下延伸,这些练习将为你提供发展低音的机会。
Figuring out how to sing in each of the registers in your voice is the first big step in singing. The next big step is moving between the registers smoothly, and the final step is extending your range in both directions. Because most singers already have lower notes just from speaking lower in their range, singing exercises usually focus on singing high notes. Ninety-nine percent of singers who ask me for help want to focus on singing high notes, so in this chapter I offer you exercises that work your higher range. Working on high notes can even help your low notes to strengthen; you may find that your range will expand in both directions by working for higher notes. You can explore singing lower notes by working on the exercises on chest voice in Chapter 11; those exercises give you an opportunity to develop lower notes if your voice is capable of extending downward.
提高音域的一个好方法是唱断奏,即“短促而分离”。唱更短、更轻的音符有助于唱高音,因为这样可以减轻嗓子的压力。唱断奏时,要打开喉咙,保持喉部稳定,并保持颈部肌肉静止。如果颈部肌肉收缩或收紧,则唱断音时要轻柔,减轻重量或压力;这种技巧可以帮助你了解如何锻炼喉部颈部的肌肉。唱出轻快而短促的音符,并与呼吸保持一致。如果声音飘忽不定,说明逸出的空气太多。在较长的音符上找到清晰的声音,然后逐渐唱出更短的音符以保持清晰度。
A great way to increase your range upward is by singing staccato, which means “short and detached.” Singing shorter, lighter notes helps you in singing higher notes, because you’re not using as much heavy weight. To sing staccato, keep your larynx steady by opening your throat and keep the muscles in your neck still. If they flex or tighten, sing the staccato notes lighter, with less weight or pressure; that technique helps you figure out how to work the muscles inside your neck in your larynx. Make the notes light and short, and keep them connected to your breath. If the sound is airy, too much air is escaping. Find a clear sound on a longer note and then gradually sing notes that get shorter to maintain that clarity.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-1:在断奏中跳跃。
FIGURE 12-1: Skipping around on staccato.
你可能听说过,无论大声还是轻声,歌手都能很好地控制自己的声音。随着高音区灵活性的提高,你需要弄清楚如何改变力度(音量)。图 12-2中的练习称为messa di voce,意思是“定位声音”。在messa di voce练习中,歌手开始时声音很轻柔,逐渐变大,然后再次变轻柔。练习messa di voce可以帮助你轻松地唱出任何给定音符的高声或轻声。在练习过程中,允许颤音出现。如果你不确定颤音或如何找到自己的颤音,请参阅第 6 章。
You’ve probably heard singers control their voice beautifully, whether they’re singing loudly or softly. As your flexibility increases in your upper register, you want to figure out how to vary the dynamics (volume). The exercise in Figure 12-2 is called a messa di voce, which means “placing the voice.” In a messa di voce exercise, the singer begins the note softly, gradually gets louder, and then grows soft again. Working on the messa di voce helps you get comfortable singing loudly or softly on any given note. Allow the vibrato to happen as you work on the exercise. If you aren’t sure about vibrato or how to find yours, check out Chapter 6.
继续唱出这个音符,同时声音逐渐增大——渐强。
提高音量时,保持稳定的气流。声音变大是因为气流增加,而不是因为挤压喉咙。
随着音量增大,你可能会感到肌肉有些颤动或扭动。不要惊慌:你的肌肉需要时间来适应这项新技能。使用持续的气流来消除肌肉颤动。
Continue singing the note while gradually getting louder — crescendo.
Maintain a steady flow of air as you grow louder. You want the sound to grow louder because of the increased airflow, not because you’re squeezing your throat.
You may feel a bump or wiggle as you grow louder. Don’t panic: Your muscles need time to adjust to this new skill. Use a consistent flow of air to eliminate the wiggle.
继续唱出这个音符,同时声音逐渐变得柔和——渐弱。
随着音色逐渐变弱,保持气流恒定。你可以假装音符开始飘浮,这能帮助你逐渐降低音量。
Continue singing the note while gradually getting softer — decrescendo.
Keep the airflow constant as you grow softer. You can pretend that the note begins floating to help you gradually decrease the volume.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-2:人声乐曲。
FIGURE 12-2: Messa di voce.
随着练习的进行,你可能会发现,一开始的音色可以更轻柔,然后逐渐变大。随着练习,你会逐渐提高这项技能——今天,请尽量保持轻柔或大声的唱法。
As you work through this exercise, you may find that you can start the tone even softer and grow even louder. You’ll gradually improve this skill with practice — sing only as softly or as loudly as you can manage for today.
如果您想了解每个音域的具体信息,请参阅第 11 章,其中介绍了您嗓音的各个区域。前面章节中的大多数音型都是慢节奏的,音符彼此相邻;它们让您有机会在唱歌时专注于每一个声音和感觉。当您熟练掌握了这些特定区域后,您会想要挑战在各个音域之间转换,以进一步提升您的技巧。接下来的音型速度更快,音程更长,并且要求您在音域上下移动时能够快速平滑地在不同音域之间过渡。
If you want some specific information about each register, check out Chapter 11, which describes each of the areas of your voice. Most of the patterns in the earlier chapters are slow patterns with notes right next to each other; they give you a chance to focus on every sound and sensation as you sing. When you have those specific areas down pat, you’ll want the challenge of moving between registers to improve your technique even more. The patterns just ahead move faster, involve larger intervals, and require you to quickly make smooth transitions between registers as you move up and down your range.
如果这些音型对你来说现在太高,那就等到你唱高音更舒服的时候再练习。多听听这些音型,熟悉所有音符,这样当你的声音能唱出高音时,你就可以开始唱了。一定要坚持练习,因为你想要的是能够唱出高音,而不是一味地回避它们。
If the patterns are too high for you right now, wait until you’re more comfortable singing high notes. Listen to them and get used to all the notes so you’re ready to sing them when your voice can handle the higher notes. Make sure that you keep practicing, because you want to be able to sing the higher notes and not just avoid them.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-3:下降。
FIGURE 12-3: Descending.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-4:寄存器之间的步进。
FIGURE 12-4: Stepping between registers.
你唱的歌并非每首都是慢歌,你需要能够轻松自如地唱快歌和慢歌。唱快音阶可以培养敏捷性——快速轻松地转换音符的能力。无论你打算唱什么类型的音乐,敏捷性都很重要。如果你的声音能够轻松快速地移动,你就更有可能喜欢唱快歌,因为你可以唱得很好。
Not every song you sing is slow, and you need to be comfortable singing both fast and slow songs. Singing fast scales develops agility — the ability to change notes quickly and easily. Agility is important no matter what kind of music you plan to sing. If your voice can move easily and quickly, you’re much more likely to enjoy singing faster songs, because you can sing them well.
有些嗓音天生就适合唱快歌。如果你的声音恰好只适合唱慢歌,那就自律地练习这些敏捷的唱法。以后你可能会庆幸自己这么做了。敏捷性对于演唱古典音乐和轻快的流行歌曲尤为重要。为了提高你的声音敏捷性,请完成本章的其他练习。
Some voices are designed to sing fast. If your voice happens to love only slow songs, be disciplined and work through these agility patterns. Later, you may be glad you did. Agility is especially important for singing classical music and upbeat pop songs. To advance your vocal agility, work through the rest of the exercises in this chapter.
图 12-5至12-7中的节奏型会引导你练习快速移动的节奏型。慢慢适应所有音符。随着节奏型的推进,音符会逐渐变长、难度逐渐增加,音符也会越来越多。此外,图 12-6中的节奏型开始较慢,然后逐渐加快。这让你有机会在节奏过快之前适应节奏型。
The patterns in Figures 12-5 to 12-7 introduce you to patterns that move quickly. Take your time getting used to all the notes. The patterns get progressively harder and longer and include more notes as they go. In addition, the tempo starts slowly in Figure 12-6 and gradually speeds up. This gives you a chance to settle into the pattern before it starts moving too quickly.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-5:五个音符的屈曲。
FIGURE 12-5: Flexing on five notes.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-6:向上滑动刻度。
FIGURE 12-6: Sliding up the scale.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-7:沿刻度跳闸。
FIGURE 12-7: Tripping along the scale.
并非每首歌的音符都是紧挨着的。你可能需要跳来跳去,这需要你的敏捷性;如果你练习以下练习,你的声音就能轻松做到这一点。
Not every song has notes that are right next to each other. You may have to hop all over the place, which requires agility; your voice can do that easily if you practice the following exercises.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-8:增添趣味。
FIGURE 12-8: Spicing it up.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-9:三分之一处弹跳。
FIGURE 12-9: Bouncing on thirds.
当你在收音机里听流行歌手时,他们的声音听起来棒极了。毕竟,他们身后有那么多乐器和伴唱。在家里,你可能不会每次都请专业的录音师来为你录音。你唱歌。那么,没有工程师,你如何才能让你的声音听起来如此动听呢?你得先弄清楚流行音乐的风格,然后再加入你一直在学习的精湛技巧。
When you listen to pop singers on the radio, they sound like a million bucks. After all, they have all those instruments and backup singers behind them. At home, you probably don’t have a professional sound engineer to record you every time you sing. So how do you get your voice to sound like a million bucks without an engineer? You figure out the style of pop music and add your fabulous technique that you’ve been developing.
好的流行音乐或 R&B 歌声的关键要素之一是灵活多变的嗓音。与古典音乐不同,流行音乐具有自由的律动和声音。唱古典音乐时,你会精准地唱出歌词。而唱流行音乐时,你会根据歌词加入自己的理解——这被称为即兴创作。嗓音移动自如的歌手在演唱流行音乐的riff和licks时会更加得心应手。riff或licks是一些短小的音乐片段,常见于流行音乐和 R&B 歌曲中,它们按照特定的节奏快速移动,通常是即兴创作的。歌手会添加音符来表达歌曲的独特风格。我列出了一些riffs中常见的基本节奏模式。当然,在演唱酷炫的流行音乐时,你仍然需要良好的技巧。
One of the key ingredients in a good pop or R&B sound is a flexible voice. This music offers a freedom of movement and sound that’s unlike classical music. When you sing classical, you sing what’s on the page with musical precision. With pop music, however, you sing the lyrics with your own take on the music — called improvising. Singers who can move their voices easily have a much easier time singing the riffs and licks in pop music. Riffs or licks are short pieces of music, commonly in pop and R&B songs, that move quickly in a specific pattern and are often improvised. The singer adds notes that express a unique version of the song. I notate some basic patterns that you can find in riffs. Naturally, you still want healthy technique as you sing cool pop sounds.
图 12-10和12-11中的节奏型很短,但它们让你有机会演唱一些在流行歌曲中经常听到的基本riff。流行音乐的特点之一是声音的自由:你可以不受约束地沿着旋律线移动。试着在演唱时找到一种自由流畅的音乐线条。
The patterns in Figures 12-10 and 12-11 are short, but they give you a chance to sing some basic riffs that you often hear in pop songs. One of the characteristics of pop music is freedom of sound: You can move along the melody line uninhibited. Try to find a free flow of the musical line as you sing.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-10:检查流行音乐的即兴重复段。
FIGURE 12-10: Checking out pop riffs.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 12-11:下降的流行乐段。
FIGURE 12-11: Descending pop riff.
图 12-10和12-11中唱出的节奏型可以帮助你探索流行音乐的音色。这些节奏型经常出现在流行歌曲中,所以你现在可以用在线音轨中第 46 首曲目听到的和弦自己唱出来。最初几次尝试时,你可能会感到沮丧。但只要继续尝试就好。每次我和不习惯唱流行音乐的学生一起尝试,他们都会努力唱对。唱出与和弦不协调的音符是正常的——一笑置之,然后再试一次。你甚至可以尝试跟着一首熟悉的歌曲一起唱,并自己添加一些音符;你经常听到有人这样做。
The patterns that you sing in Figures 12-10 and 12-11 help you explore a pop sound. Those patterns often arise in pop songs, so you can now sing them on your own with the chords you hear on Track 46 on the online tracks. The first couple of times you try this, you may feel frustrated. Just keep trying. Each time I try this with students who aren’t used to singing pop music, they try to sing it right. Singing notes that don’t blend with the chords is okay — laugh it off and try again. You can even try singing along with a familiar song and adding a few notes yourself; you hear people do that all the time.
第十三章
Chapter 13
本章内容
IN THIS CHAPTER
用你的说话声音产生新的声音共鸣
Resonating new sounds with your speaking voice
弄清楚如何运用良好的歌唱技巧
Figuring out how to apply good singing technique
探索如何系腰带
Discovering how to belt
高声演唱对于歌手来说是一种激动人心的声音。高声演唱是流行音乐、音乐剧和摇滚乐中歌手发出的高能声音。它类似于音色上的喊叫,但音色更像歌唱而不是喊叫。
Belting is such an exciting sound for a singer. Belting is the high-energy sound that singers make in pop, musical theater, and rock music. It’s similar to yelling on pitch, but with more of a singing tone than yelling.
许多不同风格的音乐都运用了高声演唱。你肯定听过高声演唱的声音——只是你可能不知道如何定义它。高声演唱(或称腰带)是前向共振(有关共振的信息,请参阅第7章)和混音(有关头声、中声和胸声的信息,请参阅第11章)的结合。在混音中,声音并非完全是头声或胸声——而是两者的结合。这种感觉你可能在第11章中练习中声时已经探索过了。在本章中,你将使用混音并添加前向共振来创建腰带。本章提供了大量关于高声演唱的信息以及一些练习,帮助你提升自己的腰带。
Many different styles of music use belting. You’ve undoubtedly listened to the sounds of belting — you just may not have known how to define it. Belting (or belt) is a combination of forward resonance (see Chapter 7 for information on resonance) and mix (see Chapter 11 for information on head voice, middle voice, and chest voice). In mix, the sound isn’t totally head voice or chest voice — it’s a combination of the two. It’s the sensation you may have already explored in Chapter 11 while working on the middle voice. In this chapter, you use your mix and add forward resonance to create a belt. This chapter offers a lot of information about belting and exercises for you to develop your belt.
学习高声演唱的第一步是学会如何正确地运用你的说话声音。高声演唱是一种激动人心的声音,有些人想在发展歌唱技能之前就直接学习高声演唱。我鼓励你按照本章列出的顺序完成练习,慢慢练习,直到成功地创造出你的高声演唱。慢慢来,你会发现高声演唱运用了你在整本书中探索过的所有技巧。如果你还没有学习过第11章和第12章,我建议你在学习高声演唱之前先看看这两章。
The first step in learning to belt is to discover how to properly use your speaking voice. Belting is such an exciting sound that some people want to jump right in and learn to belt before they develop their singing skills. I encourage you to work through the exercises in the order they’re listed in the chapter and work slowly to successfully create your belt sound. Take your time and discover that belting uses all the skills you’ve been exploring throughout the book. If you haven’t worked through Chapters 11 and 12, I encourage you to check them out before you explore belting.
当你找到真正洪亮的说话声音时,几乎不费吹灰之力就能让整个房间都充满声音。多年来,我一直不知道如何正确运用自己的说话声音,说了一小会儿话就很累。现在,我找到了最佳的说话音色,运用了唱歌时同样的呼吸,并找到了说话声音中的共鸣,我就能毫不费力地喋喋不休一整天,毫无压力。
When you find a really resonant speaking voice, you can fill an entire room with little effort. For years, I didn’t know how to use my speaking voice properly, and I became really tired after speaking for short periods of time. Now that I’ve discovered my optimum speaking pitch, applied the same breath that I use when I sing, and found resonance in my speaking voice, I’m able to chatter all day without nearly as much effort and with no strain.
通过本章的练习,你可以发现各种共鸣音色和音域,让你的说话声音清晰有力、气势磅礴。练习完说话声音后,你终于有机会尝试一些高亢的嗓音练习了。不过,练习完说话声音后再看看这些练习吧。你需要拥有健康的嗓音,为高强度的高亢嗓音做好准备。
By working the exercises in this chapter, you can discover a variety of resonant speaking pitches and range to make your speaking voice clear and commanding. After you work on your speaking voice, you get the chance to finally try some belting exercises. But check out the exercises after you’ve worked on your speaking voice. You need to have a healthy speaking voice that’s ready for the high-energy work of belting.
为了从本章的说话声音练习中获得最大收益,我设置了以下部分来锻炼您的说话声音,以便您完成以下步骤:
To get the most benefit from the speaking voice exercises in this chapter, I set up the following sections to work out your speaking voice so you go through each of these steps:
探索您当前说话时使用的声调和音色。
您需要知道您目前可以发出什么声音,然后才能用您的说话声音探索其他声音和音色。
Explore the tones and pitch you currently use when you speak.
You need to know what sounds you currently can make before you can explore other sounds and pitches with your speaking voice.
探索吟唱以找到最佳的说话音色。
您的最佳说话音色是您的声音中能引起共鸣并且听起来最好的音色。
Explore chanting to find an optimum speaking pitch.
Your optimum speaking pitch is the pitch that resonates and sounds the best in your voice.
将您最佳说话音色的同样充满活力的说话语调应用到其他音色中。
能够用各种音高发出充满活力的音色,是处理歌曲中间或歌曲开始前的朗读文本的前提。这些充满活力的音色还能让你在工作演示或演讲时听起来很棒。
Apply that same vibrant speaking tone of your optimum speaking pitch to other pitches.
Being able to make vibrant tones on a variety of pitches is the precursor to handling spoken text in the middle of your song or just before your song starts. Those vibrant tones also make you sound great when you have to make a presentation at work or give a speech.
在探索接下来章节的说话声音练习之前,请先录下自己的说话声调。听自己说话的声音和听录音的声音是不同的。播放自己的录音时,你可以从外部音源听到自己说话的声调。你甚至可以在语音信箱里听留言。注意你说话的音色是低还是高,是明亮前卫还是低沉低沉。你也可以录下自己谈论生活中一些快乐事件的对话:由于情绪激动,你的说话声调可能会更加丰富多样。
Before you explore the speaking voice exercises in the upcoming sections, record yourself speaking and listen to the tone. Just listening to yourself talk involves a different sound than when hearing your voice from a recording. When you play a recording of yourself, you can hear the tone of your speaking voice from an outside source. You can even listen to your message on your voicemail. Notice whether the pitch of your speaking voice is low or high and whether your tone is bright and forward or dark and muffled. You can also record yourself during a conversation discussing some happy event in your life: Your speaking voice may have more pitch variety because of the excitement of your emotions.
每个人说话时都会回到一个中心音色。你可以调整你的核心音色,找到一个能让你的声音听起来最响亮、最有共鸣的音色。探索以下练习,探索一个有共鸣的说话声音,然后找出哪个音色在你的说话声音中听起来最好。
Everyone has a central pitch that they return to when speaking. You can change your central speaking pitch to find one that helps you get the most ringing and resonant tone from your speaking voice. Explore the following exercise to explore a resonant speaking voice and then find which pitch sounds the best in your speaking voice.
为了理解我所说的共鸣说话声音,我希望你探索一下吟诵,它就像说唱一样。探索吟诵有助于你理解说话的共鸣音色和唱歌的共鸣音色之间的密切关系。要探索吟诵,你需要唱出一些音色,吟诵相同的音色,然后说出相同的音色。
To understand what I mean about resonant speaking voices, I want you to explore chanting, which is like speak-singing. Exploring chanting helps you understand the close relationship between a resonant tone for speaking and a resonant tone for singing. To explore chanting, you sing some pitches, chant the same pitches, and then speak the same pitches.
这个练习用的是《三只瞎老鼠》开头的三个音符。在进行以下步骤之前,你可以先唱一小段来温习一下:
This exercise uses the opening three notes to “Three Blind Mice.” You may want to sing a bit of the song just to refresh your memory before following these steps:
唱出“三只瞎老鼠”的前三个音符,并注意喉咙的感觉。
确保你唱的歌曲的胸腔共鸣部分不是太低。你的最佳音高不是你能唱或说的最低音。它需要更高一些才能找到最大的回响和共鸣。
Sing the first three notes of “Three Blind Mice” and notice the feeling in your throat.
Make sure that your version of the song isn’t really low in your chest voice. Your optimum pitch isn’t the lowest note you can sing or speak. It needs to be higher to find the most ring and resonance.
说出开头的歌词“三只瞎老鼠”。
女声的音色最好在中央C附近或略高一点,男声的音色最好在中央C低八度或略高一点。如果你觉得自己说话太低,可以尝试提高音色。
Speak the opening words “Three Blind Mice.”
Aim for a pitch that’s in the vicinity of Middle C or a little higher for women and around an octave below Middle C and higher for men. You can explore higher pitches if you think that you’re speaking too low.
用一个音符吟唱歌曲的前三个音符。
吟诵的意思是说唱音色,就像你在寺院里听到僧侣们那样。说唱音色时,你需要在说话时拉长元音,就像唱歌时一样。吟诵可能会让人觉得很傻,因为它要么看起来像是在努力让听障人士理解你,要么听起来像在唱歌。
Chant the first three notes of the song on one note.
Chanting means to speak-sing the pitches, as you hear monks doing in monasteries. To speak-sing the pitches, you hold out vowels when you speak, similar to what you do when you sing. Chanting may feel silly because either it seems like you’re working to get someone who’s hard of hearing to understand you or it feels like singsong.
再次说出这首歌的前三个单词(这次要自然地说),看看会出现什么音色。
在唱歌、吟诵和说话时,保持相同的共鸣感,并保持音色一致。记住,要像唱歌一样,将呼吸与说话的声音连接起来。
Speak the first three words of the song again (speaking naturally this time) and see what pitches come out.
Keep the sensations of resonance similar in your singing, chanting, and speaking all on the same pitches. Remember to connect your breath to the speaking voice just as you do for singing.
您还可以选择用较高的音色唱“三只瞎老鼠”,然后用这些音色吟唱和说话。
You can also choose to sing “Three Blind Mice” on higher pitches, and then chant and speak into those pitches.
在上一节中,你会发现你可以从唱歌过渡到吟诵再到说话,并在说话或唱歌时运用相同的呼吸技巧和音色。在探索吟诵的过程中,你会发现你声音中听起来最好的音色,称为最佳音色。你的最佳说话音色,或者说你声音中听起来最好的中心说话音色,通常是你说“嗯哼”的时候。对大多数人来说,嗯的音色效果最好。如果有人问你一个问题,而你不假思索地回答,那么如果你是女性,你可能会在靠近中间声音的音色上发出这个音色,如果你是男性,你可能会在靠近胸腔共鸣的音色上发出这个音色。这很好。最佳音色的音色很重要,而不仅仅是音色本身。
In the previous section, you find that you can move from singing to chanting to speaking and apply your same breathing technique and tone production when speaking or singing. In exploring chanting, you find the pitch that sounds the best in your voice, called the optimum pitch. Your optimum speaking pitch, or the central speaking pitch that sounds the best in your voice, is usually where you say, “Uh-huh.” The pitch on huh works the best for most people. If someone asks you a question and you answer without thinking about what you’re doing, you probably make the tone on a pitch near your middle voice if you’re a woman and near chest voice if you’re a man. This is good. The tone of the optimum pitch is important, not just the pitch itself.
要找到最佳音色,请按照以下步骤操作:
To find your optimum pitch, follow these steps:
说“嗯哼”。
注意“嗯哼”中第二个音色的发音。
Say “Uh-huh.”
Notice the second pitch that you sound for the huh of “Uh-huh.”
说几次“嗯哼”,然后在“嗯哼”之后立即说出你的名字,开始说话。
注意你叫自己名字时的音色。是像“嗯嗯”那样的音色吗?还是更低一些?如果更低,再试一次,用和“嗯”一样的音色念你的名字。
Say “Uh-huh” a few times and then move right into speaking by saying your name immediately after the huh.
Notice the pitch when you said your name. Was it one of the pitches in “Uh-huh,” or was it lower? If it was lower, try again and say your name on the same pitch as the huh.
最佳说话音色能帮助你找到最突出的振动和最顺畅的说话力量。之后,你可以将这种感觉运用到其他音色上。如果你不确定哪个音色听起来最好,可以请朋友听一听,或者录下自己的声音,然后再听一遍。探索不同的音色是可以的;这正是练习的目的。
Your optimum speaking pitch helps you find prominent vibrations and easy carrying power to your speaking voice. You can then take that to other pitches. If you aren’t sure what sounds best, ask a friend to listen or record yourself and listen back. It’s okay to explore different pitches; that’s the objective of the exercise.
想要获得高分,下一步就是练习用一种在各种音色上运用前向共振和高能量的语调说话。请先完成上一节的练习,然后再尝试这项练习。了解你的最佳说话音色,并探索这种声音和感觉,你就能更好地准备这项练习,因为你将理解你说话声音中的音色。准备好后,试试这个:
The next step in your quest of a belt is to practice speaking with a tone that uses forward resonance and high energy on various pitches. Please don’t try this exercise until you explore the exercise in the previous section. By knowing your optimum speaking pitch and exploring that sound and feeling, you’ll be more prepared for this exercise, because you’ll understand the pitch in your speaking voice. When you’re ready, try this:
尝试变得单调。
找到你最合适的说话音色,练习用最合适的音色单调地朗读食谱或报纸上的文章。这意味着要用一个音色说出每个字,不要像平常说话那样变化音色。
Try being monotone.
Find your optimum speaking pitch, and practice reading a recipe or an article from the newspaper in a monotone on the optimum pitch. That means saying every word on one pitch and not varying as you do when you normally speak.
当单调变得相当容易时,通过交替两个相邻的音色来改变您的阅读方式。
现在只使用两个音色,这样你就可以连接呼吸并感受到身体和脸部的感觉。
When the monotone is quite easy, vary your reading by alternating between two adjacent pitches.
Use only two pitches for now so you can connect the breath and feel the sensations in your body and face.
当您感到自信时,调高一点音色并重复步骤 1 和 2。
在较高的音色上,你需要保持说话声音在前一个音色上的共鸣音。就像在唱歌练习中一样,随着音色的升高,共鸣也需要升高。你还需要保持混合的声音,而不是变成头声。
When you’re feeling confident, move up to a slightly higher pitch and repeat Steps 1 and 2.
On the higher pitch, you want to maintain the resonant tone of your speaking voice that you had on the previous pitch. Just as in the singing exercises, the resonance needs to move higher as you ascend in pitch. You also want to maintain a mixed sound and not flip into head voice.
尝试练习并探索几个音高后,请收听在线音轨上的第49首曲目,听一位女性演示如何提高音阶以扩大她的说话音域。练习时可以切换到头声。继续练习用头声说话,并逐步提高用混合音说话的能力,方法是让共振振动在身体中下降,并在音高下降时逐渐增加更多的胸腔声。男性通常用胸腔声说话,因此在改变音高时不会感觉到音域变化太大。
After you try the exercise and explore a few pitches, listen to Track 49 on the online tracks to hear a female demonstrate how to move up the scale to increase her speaking voice range. Flipping into head voice when you try this exercise is okay. Keep working on speaking in head voice and steadily develop your ability to speak in a mix by allowing the vibrations of resonance to drop lower in your body and gradually add more chest voice as you descend in pitch. Men tend to speak in chest voice so you won’t feel a huge register shift when you change pitches.
运用身体能量确实有助于获得清晰的说话或唱歌声音,尤其是对于高声歌唱。我所说的身体能量是指身体内涌动的能量,它可以帮助你发出声音,比如当你要举起重物或大喊时。当你将同样的动作或能量应用到唱歌中时,你可以利用有目的的气流在特定音色上创造出清晰的音色。因此,将这个想法与说话联系起来意味着从第 3 章中找到你的身体姿势调整,从第 4 章中找到呼吸,从身体动作中找到一些能量,然后用你的说话声音发出声音。你会发现,仅仅是因为你身体内涌动的呼吸和能量,你的说话声音就可以发出很大的声音。能量的激增必须来自你身体的中心。
Using body energy is really helpful to get a clear speaking or singing sound, especially for belting. By body energy, I mean that surge of energy in your body that helps you make the sound, such as when you’re about to lift something heavy or when you yell. When you apply this same kind of movement or energy to singing, you can take advantage of that purposeful flow of air to create clear tones on a specific pitch. So connecting this idea to speaking means finding your alignment from Chapter 3, finding the breath from Chapter 4, finding some energy from physical movement, and then making the sounds with your speaking voice. You find that your speaking voice can make plenty of noise just because of the breath and energy surging in your body. The surge of energy must come from the center of your body.
你想让你的呼吸保持顺畅。你确实可以收紧呼吸并发出清晰的声音,但你现在已经知道紧张是什么感觉了,而且你也知道从长远来看,这不会对你有任何帮助。
You want your breath to keep moving. It’s possible to really squeeze and make clear tones, but you know what tension feels like by now, and you know that it won’t help you in the long run.
由于说话的声音与高声歌唱密切相关,因此使用说话的声音来发出高声歌唱的声音可以让您使用肌肉的平衡来创造声音,而不仅仅是使用完整的胸腔声音。
Because your speaking voice is so closely related to belting, using the speaking voice to develop a belting sound allows you to use a balance of muscles to create the sound instead of just using full chest voice.
如果你花时间认真练习说话的声音,为高能量的声音做好准备,那么健康的高声吟唱是可能的。良好的技巧可以避免你用厚重的胸腔发声来发出高声吟唱的声音。
Healthy belting is possible if you take the time to really work on your speaking voice to prepare you for the high-energy sounds. Good technique prevents you from having to use a heavy chest voice to make the belting sounds.
刚开始练习高音时,你可能会觉得声音太过强烈。其实感觉不应该太紧,但由于鼻腔共鸣导致面部周围振动增加,声音可能会比较强烈。继续阅读,尝试不同的共鸣特性,并了解鼻腔共鸣。(更多关于共鸣的内容,请参阅第七章。)
When you’re just beginning to work on belting, you may think the sound is too intense. The feeling shouldn’t be too tight, but the sound may be intense because of increased vibrations around your face from nasal resonance. Keep reading to experiment with resonating qualities and understand nasal resonance. (See Chapter 7 for more on resonance.)
如果你不喜欢高声演唱,可以跳过本节,直接跳到第14章,了解如何训练不同的演唱风格。如果你真的想尝试高声演唱,请先进行说话发声练习,然后再回来进行高声演唱练习。
If you’re not a fan of belting, you can pass this section and head straight to Chapter 14 for information about training for different styles of singing. If you really want a chance to explore belting, please work on the speaking voice exercises and then come back to the belting exercises.
想要练出健康的腰带,你需要在用嗓之前找到一些高能量的说话音。如果你直接跳到在线音轨上的高声吟唱练习,你会很难找到正确的发音方法。如果你是高手,并且有一定的高声吟唱经验,你可以以更快的速度探索这些练习。
The steps to making a healthy belt require that you find some high-energy speaking sounds before using your singing voice. You’ll have a harder time figuring out how to correctly make the sounds if you jump right to the belting on the online tracks. If you’re an advanced singer and have some experience with belting, you can explore the exercises at a faster pace.
当你回到这些练习开始高声演唱时,在开始高声演唱之前,花点时间做一些唱歌练习来热身你的声音。如果你的声音热身了,你就能更容易地发出声音。
When you do return to these exercises to begin belting, take some time to practice some singing exercises to warm up your voice before you begin the belting exercises. You’ll have an easier time making the sounds if your voice is warmed up.
高声演唱类似于强劲的混音,而不是饱满厚重的胸腔共鸣。将厚重的胸腔共鸣保留在嗓音的低沉部分。
Belting is similar to a strong mix rather than a full, heavy chest voice. Save the heavy chest voice sounds for the bottom of your voice.
高声演唱和其他唱歌技巧一样,需要时间才能掌握。如果你刚开始练习高声演唱,可以把它融入你的日常生活,但不要只做这一项。你不会在第一天注册会员就去健身房,然后一整天都待在跑步机上。给自己一些时间来增强肌肉力量,以便以健康的方式发出声音。
Belting is like any other singing skill; it takes time to master it. If you’re just beginning to belt, make it part of your daily routine — but not the only part of your daily routine. You don’t go to the gym on the first day you buy the membership and spend the entire day on the treadmill. Give yourself time to build up the muscle strength to make the sounds in a healthy way.
不仅男女之间的高声演唱存在差异,不同嗓音类型的高声演唱也存在差异。继续阅读,探索其中的差异,并培养一套适合您嗓音的健康高声演唱技巧。
Belting is different not only between women and men, but also for different voice types. Keep reading to discover the differences for yourself and develop a healthy belting technique, custom designed for your voice.
健康的女声带意味着使用一致的气流、高共鸣(尤其是鼻腔共鸣)、身体能量的发挥、胸腔声音重量的平衡,以及强劲的说话声,并能持续到歌唱声部。当带子合适时,演唱者会说,感觉像中声,但听起来像胸腔声音。对于音色较轻的女高音来说,高声演唱会比女中音更容易。我不是说女中音不应该尝试,但你可能需要多加练习才能掌握如何使用轻盈的胸腔声音。
A healthy belt for the female voice means using a consistent flow of air, high resonance (especially nasal resonance), exertion of body energy, balance of chest voice weight, and a strong speaking voice sound that sustains into sung tones. When the belt is right, belters say it feels like middle voice but sounds like chest voice. Belting is going to be easier for the lighter sopranos than for mezzos. I’m not saying that you mezzos shouldn’t try it, but you may have to work a little harder to figure out how to use a light chest voice.
男声高声演唱可以很有趣。对于男声来说,改变声音以创造出这种演唱风格并不需要很大的技术含量。要创造出高声演唱的声音,你需要在音高上升时找到前向共振的声音和饱满的音色。饱满的音色可以通过在头声区使用一些胸腔共鸣来实现。使用前向共振对你来说可能感觉较小,但在房间里对你的听众来说听起来很饱满。因为这种声音对女性来说要难得多,所以关于高声演唱的曲目只有一个男声高声演唱的例子。如果你觉得自己被排除在外,第 11 章会花更多时间讲解男声和假声。本章中的练习也适合你,所以即使曲目中的示范者是女性,也可以随意跟唱。
Belting for the male voice can be fun. It’s not a huge technical feat for men to change the sound enough to create this style of singing. To create a belting sound, you need to find a forward resonating sound and a fullness of tone as you ascend in pitch. The fullness of tone can happen from using some chest voice in head voice territory. Using forward resonance may feel smaller to you, but it sounds full in the room to your audience. Because this sound is so much harder for women, the tracks on belting have only one example of a male voice belting. If you’re feeling left out, Chapter 11 devotes more time to the male voice and falsetto. The exercises in this chapter are in a great range for you, too, so feel free to sing along even though the demonstrator on the track is female.
大多数男士在音高上升时,会允许声音向后滚动。这在演唱古典音乐时非常正常。声音向后移动被称为“覆盖”。换句话说,声音向后移动(或更多地利用喉咙的共鸣),元音也会略微变化。为了区分古典音乐和高声吟唱,你需要保持声音向前滚动,或更多地利用鼻腔共鸣。所有共鸣器都用于唱歌,但对于高声吟唱来说,突出的共鸣来自鼻腔。
Most men allow the sound to roll back as they ascend in pitch. This is a perfectly normal action to take when singing classical music. When the sound moves back, it’s called cover. In other words, the sound moves back (or uses more resonance in the throat), and the vowels slightly modify. To make a distinction between your classical sound and your belting sound, you want to keep the sound rolling forward or use more nasal resonance. All resonators are used for singing, but for belting, the prominent resonance comes from the nasal cavity.
发出高亢的声音时,必须保持空气的流动。如果空气流动不够快,你可能会发现自己为了发出声音而挤压或收紧身体。随着声音越来越强烈,你还必须增加能量的流动。高声吟唱。高声吟唱所需的能量流可能比中声所需的能量流更大。在房间里走动,让你的整个身体与歌声连接起来,就像你在本章前面“运用身体能量找到清晰的音色”一节中所做的那样。将高声吟唱中协调的呼吸和能量提升到一个新的水平是本章的目标之一。
When you’re making belting sounds, you must maintain a consistent flow of air. If your air isn’t flowing quickly, you may find yourself squeezing or tightening to make the sounds. You must also increase energy flow as you make more intense belting sounds. The flow of energy you need to create belting sounds may be greater than the amount of energy you need in your middle voice. Move around the room to connect your whole body to your singing, as you did earlier in the chapter in the section “Using body energy to find clarity of tone.” Taking coordinated breath and energy to the next level for belting is one of the goals of this chapter.
要感受高声演唱所需的振动,你需要尝试用比平常更高的嗓音演唱,并尝试一些不太优美的音色。高声演唱并非为了发出优美的音色。高声演唱听起来像是在高音上大喊大叫。我并不认为大喊大叫是一种不好的声音:初学高声演唱的人通常喜欢其他歌手的高声演唱,但不喜欢自己声音中的声音。用头声为主的声音演唱与高声演唱截然不同。你可能会逐渐喜欢上自己高声演唱的声音,但一开始可能并不觉得它优美。高声演唱的声音令人兴奋,但并不优美。
To feel the vibrations necessary for belting, you need to explore taking speaking voice sounds higher than you normally speak and explore some tones that aren’t very pretty. Belting isn’t about making pretty tones. Belting sounds like yelling on pitch. I don’t think of yelling as a bad sound: Beginner belters often like the belt sounds of other singers but dislike the sounds in their own voice. Singing in head voice–dominated sounds is very different from belting. You may grow to love the sound of your voice belting, but you may not think it’s pretty at first. The sounds are exciting but not pretty.
混音不仅可以用于唱歌,还可以用于说话。说话时使用混音可以帮助您了解唱歌时需要做什么。您可以回到本章前面的练习,探索您的最佳说话音色,然后将最佳声音提升到更多音色。如果您研究第 11 章(其中描述了声音的音域),您可以将相同的音色注册工作应用到您的说话声音中。读一些文本并使用纯胸腔共鸣。这会感觉很沉重。再次朗读文本,并让头声占主导地位 —— 您听起来可能很年轻。了解说话时的胸腔共鸣和头声可以让您现在探索组合 —— 混音 —— 在接下来的练习中。
You can use a mix not only for singing, but also for speaking. Using a mix when you speak helps you understand what you need to do when you sing. You can go back to the earlier exercises in the chapter to explore your optimum speaking pitch and then take that optimum sound to more pitches. If you explore Chapter 11, which describes the registers of the voice, you can apply that same registration work to your speaking voice. Speak some text and use a pure chest voice. It’s going to feel really heavy. Speak the text again and allow it to be head voice dominated — you likely sound very young. Knowing what is chest voice and head voice when you speak allows you to now explore a combination — mix — in the following exercise.
尝试以下练习,探索你说话时的混音效果。“将共振移至前方”部分中的后续练习将帮助你在混音中添加前向共振,从而创建混音带。(更多信息,请参阅附近的侧边栏“混音带简介”。)
Try the following exercise to explore the mix when you speak. Later exercises in the section “Moving Resonance to the Front” help you add forward resonance to your mix to create a mix belt. (See the nearby sidebar, “Introducing mix belt,” for more information.)
发出高能量的说话声音,例如呼唤朋友或向假想的敌人提出要求,有助于您找到鼻腔共鸣并协调呼吸和能量。
Making high-energy speaking sounds, such as calling out to a friend or making demands of an imaginary foe, helps you find nasal resonance and coordinate breath and energy.
假设你的朋友在一个嘈杂的房间的另一边。试着喊“嘿”来引起他们的注意。运用你对呼吸和能量的了解来与这个声音建立联系。你想象中的朋友没有回应,所以用不同的音色再喊一次“嘿”。记住,用你的说话声音探索不同的音色是可以的。你也可以修改这个练习:喊出诸如“还给我!”或“退后!”或“永不!”之类的短语,甚至可以试着向你的朋友推销一些东西。棒球场上的许多小贩都在大声叫卖,但他们自己却浑然不知。试着向想象中的人群卖一些苹果、橘子或爆米花。运用你在第 7 章中学到的关于共鸣的知识,让声音在你的脸上振动,找到鼻腔共鸣。
Pretend that your friend is across a noisy room. Try to get their attention by calling out, “Hey.” Use your knowledge of breath and energy to connect to this sound. Your imaginary friend doesn’t respond, so call out “Hey” again on a different pitch. Remember that it’s okay to explore different pitches with your speaking voice. You can also modify this exercise: Call out phrases such as “Give me that back!” or “Back off!” or “Never!” or even try to sell your friend something. Many of the vendors at the ballpark are belting and don’t even know it. Try selling some apples, oranges, or popcorn to an imaginary crowd. Use your knowledge of resonance from Chapter 7 to get the tone vibrating in your face to find nasal resonance.
唱歌时,你可能没有意识到共鸣。你可以阅读第七章,了解共鸣及其在不同音乐风格中的变化。在本部分中,你将探索不同方式和位置的共鸣,以便知道如何在演唱时让共鸣向前推进。
When you sing, you may not be aware of resonance. You can read Chapter 7 about resonance and how it varies in different styles of music. In this section, you explore resonance in different ways and locations so you know how to move it forward when it’s time to belt.
在这个练习中,你需要把头部分成三部分。其实并没有听起来那么痛苦。为了真正感受到脸部前方共振的振动,你需要探索脸部和头部后部、中部和前部的振动。继续阅读,了解头部后部、中部和前部的声音和感觉,然后聆听在线曲目中的示例:
For this exercise, you divide your head into three segments. It’s not as painful as it sounds. To really feel the vibrations of resonance in the front of your face, you want to explore the vibrations made in the very back, middle, and front of your face and head. Read on for an explanation of the sounds and sensations in the back, middle, and front of your head, and then listen to the examples on the online tracks:
为了帮助你感受高声歌唱所需的前向共鸣,我想让你模仿一个正要告发哥哥或姐姐的小孩。你知道那种嘲讽的、像唱歌一样的声音,喵喵喵喵。做几分钟淘气鬼,找到那种告密的声音——感受你发出声音时的震动。如果你没有感觉到脸上的那种感觉,那就再试一次,表现得更淘气一些。让淘气鬼的声音在你的脸上嗡嗡作响,但不要挤压你的喉咙。
To help you feel that forward resonance needed for belting, I want you to imitate a little kid who’s about to tattle on his big brother or sister. You know that taunting, singsong sound, nya-nya-nya-nya-nya. Be a brat for a few minutes and find that tattletale sound — feel the vibrations as you make the sound. If you didn’t feel the sensation in your face, try again and be even more of a brat. Let the bratty sound buzz in your face, but with no squeezing in your throat.
当声音正确时,您会感觉到脸前或脸后方有振动。您希望声音在鼻子后方或旁边嗡嗡作响,但不要在鼻子里。如果您认为鼻音太重,请捏住鼻子发出声音。如果声音“在鼻子里”,声音就会停止,但如果声音就在鼻子后方,它会继续嗡嗡作响。如果振动发生在您的头部或脸部前方,则说明您的判断正确。振动并不集中在单一区域;您可能会感觉到整个脸部,尤其是脸颊或前额,都在振动。有些人喜欢将脸后方的区域称为“面具”。如果您熟悉这个术语,那么您正在尝试创建在面具中产生大量振动的音色。
When the sound is right, you feel vibrations in the front of your face or just behind your face. You want the sound to be buzzing behind or beside your nose, but not in your nose. If you think it’s too nasal, hold your nose and make the sound. The sound stops if it’s “in your nose,” but it continues buzzing if it’s just behind your nose. If the vibration is in the front of your head or face, you’re on the right track. The vibrations aren’t in one single area; you may feel your whole face, especially your cheeks or forehead, vibrating. Some people like to call the area behind their face “the mask.” If that’s a term you’re familiar with, you’re trying to create tones that generate plenty of vibration in the mask.
要想成功演唱,你需要同时运用高前向共振和混合音域。混合音域指的是运用一些胸腔共鸣和头腔共鸣。(请查看附近侧边栏的混合音域说明。)如果你一直在练习本章前面提到的有助于提升音域的练习,并且已经探索了一些真正的前向共振,那么你就可以开始努力提升自己的音域了。当你唱得更高时,声音或共振会在你脑海中不断上升,就像你从中声过渡到头声时一样。区别在于,你保留了一些胸腔共鸣,而不是在上升过程中转为头声。你可能会感觉到共振产生的振动在你脑海中不断上升,就像你的脸上顶着一个梯子,声音的振动在梯子上逐渐上升。
To belt successfully, you want to use both high forward resonance and mixed registration. With mixed registration, you use some chest voice and some head voice. (Check out the mix description in the nearby sidebar.) If you’ve been practicing the exercises earlier in the chapter to help you with registration and you’ve explored some really forward resonance, you’re ready to work on increasing your belt range. As you belt higher in pitch, the sound or resonance is going to roll higher in your head, similar to what you do as you’re singing up the scale moving from middle voice into head voice. The difference is that you keep some chest voice instead of turning over into head voice as you ascend. You may feel the vibrations from the resonance climbing higher in your head, as if you have a ladder on your face that the vibrations of sound gradually climb.
有些人认为,高声演唱只能达到某个音高,因为这就是他们胸腔共鸣所能达到的最高音。在本章中,你可以了解到,高声演唱是前向共振和混合音域的结合。由于每个人的声音都不一样,有些歌手更容易高声演唱并扩大音域,而另一些歌手则觉得很难。
Some people think that you can belt only to a certain pitch because that’s how high they can take their chest voice. You can read throughout this chapter that belting is a combination of forward resonance plus mixed registration. Because not every voice is the same, some singers have an easier time with belting and increasing their belt range, whereas other singers find it tricky.
音高较高的女高音和男高音在他们的音域内唱高音时比较容易。女中音和男中音可能需要多花些功夫才能找到自己的音带。您可以在第二章中阅读有关声音类型及其音域的更多信息。如果您是女中音或男中音,并且想要提高自己的音带范围,则需要缓慢而谨慎地练习。花大约一个月的时间练习本章前面的说话声音练习。再花一个月左右的时间练习前向共振。对你来说,前向共振可能比对女高音或男高音伙伴来说更难。你的声音往往更暗沉、更厚重,因此找到前向共振需要一段时间。要有耐心。如果你急于提高音带范围,最终可能会用力过猛,发出刺耳的声音。如果你能找到前向高共振,你就会明白何时用力过猛,何时用力恰到好处,从而可以唱出更高音带的歌曲。
Higher sopranos and tenors have an easier time belting and belting high in their range. Mezzos and baritones may struggle a little more to figure out their belt. You can read more information in Chapter 2 about voice types and their range. If you’re a mezzo or baritone trying to increase your belt range, you want to work slowly and deliberately. Spend about a month working on the speaking voice exercises earlier in the chapter. Work for another month or so on the forward resonance. That forward resonance may be harder for you than for your soprano or tenor buddies. Your voice tends to be darker and heavier, so finding forward resonance is going to take you a while. Be patient. If you rush to increase your belt range, you may end up pushing and making a harsh sound. If you can find the forward high resonance, you’ll understand the difference between when you’re using too much weight and when it’s just right so you can sing higher belt songs.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 13-1: “那不是它。”
FIGURE 13-1: “That Ain’t It Man.”
当你唱到更高的音高时,你需要结合高音共鸣和混合音域。如果你身体上理解如何结合高音前向共鸣和混合音域,那么你就能一直唱到五线谱的最高音。尝试下一个练习,练习结合混合音域和前向共鸣,这样就能一路唱到更高的音阶。你可能看起来像是在用高音说话,而音阶更高了。这是件好事。记住,高声吟唱是言语的延伸。如果你用说话的声音来做这个练习,你就走在了成为熟练高声吟唱者的正确道路上。
As you belt higher in pitch, you want to combine your high resonance and mixed registration. If you physically understand how to combine high forward resonance with mixed registration, then you can belt right up to the top of the staff. Try the next exercise to practice combining mixed registration and forward resonance to belt your way up the scale. It may seem like you’re just talking on pitch higher and higher up the scale. That’s a good thing. Remember that belting is extended speech. If you use your speaking voice for this exercise, you’re on the right track to becoming a proficient belter.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 13-2: “现在还不行。”
FIGURE 13-2: “Not Now.”
拉高音确实很有趣,但要想发出高级的拉高音,你必须协调好身体。你在本章前面探索过的那些活泼的声音可以帮助你理解共鸣和音域。在继续本节的练习之前,请先完成以下练习:
Belting is really fun but you have to get your body coordinated to make advanced belt sounds. The chatty sounds you explored earlier in the chapter help you figure out resonance and registration. Before continuing on to the exercises in this section, do the following:
尝试前面的练习来探索更高级的皮带声音和持续的皮带声音。
Try the exercises ahead to explore more advanced belt sounds and sustained belt sounds.
培养你的带音需要时间和耐心。如果你一直在练习本章的练习,你可能已经准备好探索如何保持带音了。要保持带音,你需要付出大量的体力。如果你不付出体力,最终可能会压迫到喉咙,这可不是什么好事。
Developing your belt sound takes time and patience. If you’ve been working on the exercises throughout the chapter, you may be ready to explore sustaining belt sounds. To sustain a belt sound, you need a lot of physical exertion in your body. If you don’t use physical exertion, you may end up pressing in your throat, and that’s not good.
高声演唱需要很大的力气,所以你应该用力于你的身体,而不是喉咙。用力意味着调动你体内的能量。回顾本章前面探索呼吸和能量协调的练习(参见“运用身体能量找到清晰的音色”部分)。练习这些建议,探索如何真正运用你的整个身体来发出声音。你不仅需要在高声歌曲中保持音符时用力,还要确保在乐句开头不要用力收腹。
Belting requires a lot of effort, so you want the effort to come from your body, not your throat. Using physical exertion means moving energy in your body. Go back to the exercises earlier in this chapter that explore coordinating breath and energy (see the section “Using body energy to find clarity of tone”). Work on those suggestions and explore how to really use your entire body to make sound. Not only do you want this physical exertion when you sustain notes in your belt song, but you want to make sure that you’re not pushing in your abs at the beginning of the phrase.
回顾第四章中的呼气练习。在乐句开头用力推腹肌会呼出过多的空气。你的喉咙会收缩,阻止所有空气呼出,最终导致一开始的音色紧绷。体力消耗并非在于用力,而在于打开身体,或者在呼气时逐渐让腹肌、肋骨和身体两侧收紧。
Review the exhalation exercises in Chapter 4. Using a hard push of your abs at the beginning of a phrase pushes out too much air. Your throat closes down to prevent all the air from blowing by, and you end up starting with a tight tone. Physical exertion isn’t about pushing in; it’s about opening your body or gradually letting the abs, ribs, and sides of your body move back in when you exhale.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 13-3: “那是我的——那是我的。”
FIGURE 13-3: “That’s Mine — That’s Mine.”
你可能已经注意到,本章中的腰带练习使用了元音 ay(例如d a y中的 a y音)和 a(例如cat中的a y 音)。这两个元音可以帮助你找到高声吟唱所需的前向共鸣。当然,在高声吟唱中,你需要唱出不止这两个元音,所以你需要在其他元音上找到相同的共鸣。你可以通过几种不同的方式找到相同的共鸣:
You may have noticed that the belt exercises in this chapter use the vowels ay (the ay sound as in day) and a (as in cat). Those two vowels help you find the forward resonance you need for belting. Of course, you have to sing more than those two vowels in belt songs, so you want to find the same resonance on other vowels. You can find that same resonance a couple of different ways:
当你更熟练地高声演唱时,你将能够唱出单词中的真正元音,而无需修改或改变它们。你仍然需要高共鸣,但你将能够唱出单词中的真正元音。现在,继续修改,直到你确信共鸣既高又前。你稍后还会发现,当你高声演唱时,你不需要一直使用前向共鸣。你可以在适当的时候将声音向前滚动。听听后面部分“你应该听到的高声演唱者和高声演唱歌曲”中的高声演唱者,听听他们在唱整首歌时使用的不同音色。他们并不总是使用非常前向的声音;他们只在适合故事的某一部分或帮助高声演唱时才使用它。
When you’re more skilled at belting, you’ll be able to sing the real vowels in your words without having to modify or change them. You still want the high resonance, but you’ll be able to sing the real vowel in the word. For now, keep modifying until you’re confident that the resonance is both high and forward. You’ll also find later that you don’t need to use the forward resonance all the time when you belt. You’ll be able to roll the sound forward when it’s appropriate. Listen to the belters in the later section, “Belters and Belt Songs You Should Hear,” and listen to the different tone colors they use when they sing an entire song. They don’t use the really forward sound all the time; they use it only when it’s appropriate to the portion of the story or to help belt really high.
当你学习如何演奏本章中描述的声音时,聆听一些技艺精湛的歌手的演奏会很有帮助。在附录A中,你可以找到一些很棒的腰带歌曲推荐,可以亲自尝试一下。
Listening to some technically savvy belters can be helpful when you’re figuring out how to make the sounds described in this chapter. In Appendix A, you can find some great suggestions of belt songs to try for yourself.
想听一些技艺精湛的男歌手,可以听
For some skillful male belters, listen to
您可能不会认为这些人是高手,但他们却具有您在本章中探索到的相同品质。
You may not think of those guys as belters, but they’re using the same qualities you explore in this chapter.
对于女性歌手来说,请听听这些女士的声音:
For female belters, listen to these ladies:
你可能会注意到,腰带歌曲往往一开始是混音,然后逐渐过渡到腰带。有些歌曲会一直保持腰带音效,但并非所有歌曲都是如此。
You may notice that belt songs tend to start out in a mix and then gradually move into a belt. Some songs stay in the belt sound the whole time, but not all do.
考虑一下这些通常整首歌都用高声演唱的歌曲的例子:
Consider these examples of songs that are commonly belted for the entire song:
要比较高声演唱者和他们所创造的声乐旅程,请听几位歌手演唱同一首歌。对于女性高声演唱者,请听《猫》中的《记忆》。所有歌手都在歌曲中运用了混音和高声演唱。从芭芭拉史翠珊开始,在她的混音中可以听到很多头声,即使她高声演唱时,声音中也有很多头声。听听伊莲佩姬在伦敦原班人马录音中如何巧妙地运用她的混音和高声演唱。利昂娜刘易斯为百老汇演员演唱这首歌,一开始以头声为主,在低音部分使用胸腔共鸣,然后在高音部分使用前向共振。詹妮弗哈德森在电影版中以华丽的嗓音演唱了这首歌。这些艺术家演唱同一首歌,却发出如此多样化的声音。
To compare belters and the vocal journey they create, listen to several singers singing the same song. For the female belters, listen to “Memory” from Cats. All the singers use mix and belt within the song. Start with Barbra Streisand to hear a lot of head voice in her mix and even when she belts there is a lot of head voice in the sound. Listen to Elaine Page beautifully use her mix and belt in the London Original Cast recording. Leona Lewis sings it for the Broadway cast and begins with a head voice–dominated sound, uses chest voice on the low notes, and then uses forward resonance for the high belt. Jennifer Hudson sings it with panache in the movie version. Such diverse sounds by these artists singing the same song.
男士们,听听不同男歌手演唱《悲惨世界》中的《带他回家》(Bring Him Home),你会发现不同的对比。不妨听听科尔姆·威尔金森和阿尔菲·博的歌曲,他们在同一首歌中巧妙地运用了假声、混音和高音。休·杰克曼在电影版中使用了更厚重的胸腔共鸣和前倾共鸣,而劳伦斯·布朗利则通过持续的颤音和音色,在口部和喉咙处产生更多共鸣,为他的演绎增添了古典音乐的细微差别。拉明·卡里姆鲁的混音中大量运用了头声,运用了直音和颤音,并随着歌曲的推进逐渐过渡到更多的胸腔共鸣。这些伟大的表演者展现了多样的声音,为歌曲创造了一段旅程。
Men, you can find contrast by listening to different male singers singing “Bring Him Home” from Les Misérables. Listen to Colm Wilkinson and Alfie Boe for brilliant examples of falsetto, mix, and belt in the same song. Hugh Jackman uses a heavier chest voice and forward resonance in the movie version, whereas Lawrence Brownlee brings nuances of a classical sound to his rendition by using consistent vibrato and tone that resonates more in his mouth and throat. Ramin Karimloo sings with a lot of head voice in the mix, uses straight tone and vibrato, and transitions into more chest voice as the song progresses. These great performers demonstrate diverse sounds that create a journey in a song.
第十四章
Chapter 14
本章内容
IN THIS CHAPTER
不同音乐风格的训练
Training for different musical styles
从任何年龄开始训练
Beginning your drills at any age
决定是否与合唱团一起训练
Determining whether to train with a choir
歌手的训练要求可能会令人困惑。每位歌手都需要掌握一些基本的健康技巧,但如何运用这些技巧取决于你想唱什么类型的音乐。在本章中,你将了解演唱你最喜欢的音乐风格需要哪些条件、何时开始训练,以及合唱团的歌唱训练是否适合你。
The training requirements for singers can be confusing. Every singer needs a basic healthy technique, but knowing what to do with that technique depends on what kind of music you want to sing. In this chapter, you find out what it takes to sing your favorite style of music, when to begin that training, and whether singing in the choir offers the right kind of training for you.
歌唱训练意味着培养歌唱技巧。本书中关于技巧的信息适用于所有歌手,而非仅仅针对某一类型的歌手或某一风格的歌曲。因此,请探索本书的其余部分以获取基础知识,并继续阅读以了解不同音乐风格的具体要求。本章可以帮助您确定在练习中需要改进的地方。
Training for singing means developing singing technique. The information about technique throughout the book is designed for all singers, not just one type of singer or style of material. So explore the rest of the book for foundational information, and read on to understand what specifics are required for different styles of music. This chapter can help you identify what to polish in your practice sessions.
无论你想唱什么类型的音乐,你都需要掌握健康的演唱技巧,才能长久地保持歌唱生涯。如果你对某种类型的音乐感兴趣,但又不确定如何才能唱好这些歌曲,不妨看看你应该追求什么样的声音。(我还提供了每个流派中才华横溢的歌手名单。)
No matter what type of music you want to sing, you need a healthy technique for a long life of singing. If you’re interested in singing a specific type of music but you’re not sure what it takes to sing those songs, check out what kind of sound you should be shooting for. (I also provide a list of talented singers in each genre.)
乡村音乐既有关于威士忌和女人的经典老歌,也有关于失恋的感人民谣。艺术家们在表演中展现了精彩的表演,并在演唱时运用了各种各样的声音。乡村音乐最大的共同点在于所讲述的故事。它用一种类似于说话的声音来描述歌手的感受。不妨看看以下这些:
Country music has the good ol’ boy songs about whiskey and women, as well as heartfelt ballads about lost love. The artists put on quite a show at their performances and use a variety of sounds when they sing. The biggest common denominator in country music is the story being told. It describes how the singer feels, in a sound that’s similar to a speaking voice. Check out the following:
耳熟能详的爵士乐有时改编自其他音乐风格的歌曲。爵士歌手在改编音乐剧标准曲目时,通常会改变原曲的音符和节奏。爵士歌手凭借节奏的灵活性来创造自己的风格,歌手和钢琴演奏者不必总是一字不差地配合(称为“回奏”)。更多详情,请参阅以下内容:
Familiar jazz songs are sometimes arrangements of songs from other styles of music. When jazz singers create an arrangement of a musical theater standard, they usually change the notes and rhythms from the original music. Jazz singers create their style with rhythmic flexibility, and the singer and pianist don’t always have to be together note for note (called back phrasing). Check out the following for more details:
与歌剧不同,音乐剧的制作首先关注的是故事。演唱虽然在优先级中名列前茅,但并非排在第一位。音乐剧演员并非仅仅因为唱得好而被选中(尽管唱歌能力也很重要!);他们之所以被选中,是因为他们外表符合角色,舞姿优美,并且能演能唱。音乐剧歌手还需要知道如何发出各种声音。以下是有关音乐剧的更多信息:
Unlike the opera, the musical theater production is about the story first. Singing is high on the list of priorities, but it doesn’t rank first. Musical theater performers aren’t cast just because they sing well (although singing ability does count!); they’re cast because they look the part, can dance or move well, and can both act and sing. Musical theater singers also need to know how to make a variety of sounds. Here’s more about musical theater:
音乐界的界限开始模糊,摇滚乐与流行乐联系在一起。这两种风格在嗓音上相似,音域都比较宽广,更多的是腰带声而非头声,音色也从时髦到优美,变化多端。摇滚歌手的伴奏是厚重的吉他,他们能发出从尖叫到呻吟的各种声音。这两种类型的歌手都需要知道如何保持嗓音的健康,才能胜任他们高要求的音乐表演。健康的演唱技巧意味着确保你的声音能够经久耐用。了解更多关于流行摇滚的信息,请查看以下内容:
The lines in the music industry are starting to blur, and rock music is connected with pop. The styles are similar vocally, both use a wide range, more belt than head voice, and tone that ranges from funky to pretty. Rock singers have heavy guitars backing them up and make a variety of sounds, from screams to moans. Both types of singers need to know how to keep their singing voices healthy for their demanding music. Healthy technique means making sure that your voice will last over time. Check out the following for more about pop-rock:
声音:因为有麦克风,所以演唱流行摇滚时,你不需要像演唱歌剧那样有力度和清晰度。音色模糊是可以接受的,只要这是你的选择。如果你的音色不够清晰集中,麦克风可以帮忙传递声音,但你必须有一定的清晰度来放大。由于流行摇滚的歌词和乐句可能没有歌剧演唱者那么长,所以你也不需要像歌剧演唱者那样,用连奏的长句来表达强度。
最新的音响系统技术可以即时纠正歌手的音高偏差。新款卡拉OK机和麦克风都使用了这项技术,一些著名歌手也使用了这项技术。他们不想让你知道他们的麦克风正在矫正他们的音高,但事实确实如此。如果没有音高矫正技术,现场演唱会的声音会略有瑕疵或出现轻微波动,而录音棚录音则可以完美地混音,通过添加混响来模拟共振,并消除任何细微的音色偏差。你需要扎实的技巧,才能在不借助音高矫正的情况下也能拥有出色的音色。
选择延迟颤音的开始也是完全合法的。你可以用平直的音色演唱,然后让颤音在稍后或乐句结束时出现。随着音色的上升,你可以让声音转换到另一个音域或约德尔唱法。你也可以让声音在上升过程中变得更轻,而不是像在歌剧或音乐剧中那样逐渐增强。使用混合或更强的中声是女歌手的选择;男歌手可以选择使用假声还是头声。(第 11 章将详细介绍声音,包括头声、假声和中声。)你可能不需要像演唱其他风格的音乐(例如古典音乐)那样在口腔和喉咙中留出很大的空间。
Sound: Because you have a microphone, you don’t need the same kind of intensity and clarity when singing pop-rock as you do when singing opera. Having a fuzzy tone is okay, as long as that’s your choice. Your microphone can help carry the sound if your tone isn’t clear and focused, but you have to have some clarity to amplify. Because the lines and phrases may not be as long and drawn out in this repertoire, you also don’t need the intensity of long, legato lines, as opera singers do.
The latest technology in sound systems can instantly correct a singer’s wayward pitch. Newer karaoke machines and microphones use this technology, as do some famous singers. They don’t want you to know that their mic is correcting their pitch, but it’s true. A live performance of someone singing without the aid of pitch-correction technology shows imperfections or minor fluctuations, whereas a studio recording is perfectly mixed to add reverb to simulate resonance and edit out any minor slips of tone. You want solid technique so that you sound great without the aid of pitch correction.
Choosing to delay the onset of the vibrato is also perfectly legal. You can sing with a straight tone and then allow the vibrato to happen later or at the end of the phrase. As you ascend in pitch, you can allow the sound to flip into another register or yodel. You can also allow the sound to get lighter as you ascend instead of growing stronger, as you may in opera or musical theater. Using a mix or a stronger middle voice sound is a choice that female singers make; guys can choose whether to use falsetto or head voice. (Chapter 11 tells you more about voice sounds, including head voice, falsetto, and middle voice.) You may not need a wide space in your mouth and throat as you do with other styles of music, such as classical music.
如果你对歌剧演唱训练感兴趣,那么你有很多领域可以探索。歌剧训练通常需要长时间的课程或学习,这未必是坏事。长时间学习唱歌并非是一种惩罚:它让你有机会掌握自己的嗓音。对许多歌手来说,漫长的学习过程也意味着从小就开始学习。查看以下列表,了解你在歌剧训练中可能会遇到的情况。了解更多关于歌剧的信息,请查看以下内容:
If you’re interested in training to sing opera, you have plenty of territory to cover. Training for opera usually requires a long process of lessons or study, which isn’t necessarily bad. Studying singing for a lengthy period isn’t a punishment: It gives you the opportunity to master your voice. For many singers, the long process of studying also means starting early in life. Review the following list to see what you may experience as you train for opera. Check out the following for more on opera:
R&B 歌手的声音风格多样,从轻快的 riff 到高音部分,应有尽有。找到一位愿意教授技巧并将其应用于 R&B 作品的声乐老师并非易事。大多数老师坚持通过练习古典音乐剧或音乐剧作品来提升技巧。R&B 歌手所需的基本技巧与其他风格歌手相同:稳固的音准、良好的呼吸协调、流畅的吐字和均衡的音域。本书将全面介绍这些技巧。如果这些技巧扎实,R&B 歌手可以寻求一位教练来帮助他们完善风格和作品。请查看以下内容:
The sounds of the R&B singer vary from agile riffs to high belt. Finding a voice teacher willing to work technique and apply it to this material is tricky. Most teachers insist on working classical or musical theater material to build technique. The basic technical skills the R&B singer needs are the same as any other style: solid alignment, great breathing coordination, facile articulation, and balanced registration. These skills are all addressed throughout this book. If these skills are solid, the R&B artist can seek a coach to help polish their style and material. Check out the following:
只要能说话,就能唱歌——无论年龄大小,都能享受唱歌的乐趣。我曾教过80多岁的学生,他们非常喜欢唱歌。只要你准备好培养健康的唱歌技巧,无论年龄大小,都适合开始唱歌。然而,要培养和掌握健康的唱歌技巧,了解你的声音会随着年龄的变化至关重要。继续阅读,了解训练年轻歌手(12岁以下)和青少年的最佳方法,并深入了解你在人生不同阶段可能遇到的声音变化。
If you can speak, you can sing — and you can enjoy singing no matter what your age. I’ve had students in their 80s take classes, and they loved it. As long as you’re ready for the work it takes to develop a healthy technique, you’re never too old to begin singing. However, to develop and foster a healthy singing technique, understanding how your voice may change with age is essential. Keep reading to find out the best way to train young singers (under the age of 12) and teenagers, and get some insight into a few voice changes that you may encounter at the different stages in life.
音乐偏好可能是年轻歌手和青少年之间最明显的区别,但还有其他区别。年轻歌手和青少年在以下方面有所不同:
Music preference may be the most obvious difference you encounter between a young singer and a teenager, but other differences exist. Young singers and teenagers are different in the following ways:
训练:大多数年轻歌手都能从合唱团或参加集体歌唱课程中受益,这不仅能帮助他们探索音乐,还能让他们受益匪浅。如果您的孩子加入合唱团或集体歌唱课程,请确保课程内容适合其年龄。非常年轻的歌手唱歌时通常无法发出太多声音,因为他们的喉部仍在生长发育。然而,对于新手指挥来说,充足的声音通常是他们首先想要的。如果您的孩子排练后感到力不从心或非常疲惫,可以考虑其他更适合其水平的合唱团或课程。
许多年轻歌手渴望拥有和新晋流行歌星一样的嗓音。他们并没有真正意识到,流行歌星拥有各种各样的设备和音响师来帮助他们创造声音。你越能让你的小歌手接触同龄的歌手,效果就越好。带他们去听小学或初中的音乐会,这样他们就能听到同龄人的现场演唱,了解同龄人的声音。
有些嗓音成熟的青少年已经准备好接受课程和训练。只要老师善于指导青少年,课程就会很有益。如果老师不允许学生自选歌曲,或者不允许学生选择有趣的歌曲来唱,他们可能会失去兴趣。观察孩子的持续进步。你不需要对唱歌了解很多就能帮助你的孩子。像你对其他不熟悉的科目一样,不断提问,倾听孩子谈论歌曲(不想练习是青少年不喜欢音乐的一个好迹象),以及对下一节课的热情。
有些青少年比其他青少年更愿意接受指导和建设性批评。如果你的孩子自尊心尚存,你不妨聘请一位能够用幽默和热情,积极改变孩子声音的老师。
Training: Most young singers can benefit from singing in a choir or joining a group singing class just to explore music. If your youngster joins a choir or group singing class, make sure that the class focuses on sounds appropriate for his or her age. Really young singers often can’t make much sound when they sing because their larynx is still growing and developing. However, plenty of sound is usually the first thing a novice director asks for. If your child ends up pushing or is really tired after rehearsals, explore other choirs or classes that work at a more appropriate level.
Many young singers want to sound just like the latest pop star. They don’t really realize that the pop star has all kinds of equipment and sound engineers helping make the sounds. The more you can expose your young singer to singers of the same age, the better. Take young singers to elementary-school music concerts or junior-high concerts so that they can hear their peers sing live and know what voices their age sound like.
Some teenagers with mature voices are ready for lessons and training. As long as the teacher is quite good with adolescents, lessons can be beneficial. If the teacher doesn’t allow the students to choose any songs, or if the students aren’t allowed to pick anything fun to sing, they may lose interest. Watch for consistent progress. You don’t have to know a lot about singing to help your child. Keep asking questions, as you probably do about any other subject you aren’t familiar with, and listen to your child talk about the songs (not wanting to practice is a good sign the teenager doesn’t like the music) and enthusiasm for the next lesson.
Some teenagers are more ready to take direction and constructive criticism than other teenagers are. If your child’s ego is still a bit delicate, you want to hire a teacher who can make positive changes in the teen’s voice with humor and enthusiasm.
大多数青少年只想知道自己今天能做什么才能唱出动听的歌声。他们可能不知道健康的唱歌技巧能带来长期的益处,也可能没有耐心去倾听。然而,运用健康的唱歌技巧并训练他们的耳朵来唱歌,对于长期保持唱歌技巧至关重要。
Most teenagers want to know only what they can do today to sound fabulous. They may not know the long-term benefits of healthy technique, and they may not have the patience to listen. However, using healthy technique and training their ears for singing is important for maintaining long-term technique.
把声音发得太远、太快,从长远来看是没有好处的。家长和老师都应该了解这个概念。我说的“发力”是指发出大音量的声音,比如一些需要大音量的歌唱素材,在青少年掌握支撑声音的技巧之前。在年幼时练习说话时发出的“哽咽”音是可以的,但发出“压”或“挤”的声音可能会使以后发出健康的声音变得更加困难。
Pushing the voice too far, too fast doesn’t help in the long term. This concept is important for both parents and teachers to know. By pushing the voice, I mean making big sounds, such as singing material that requires a big sound before teenagers have the technical skill to support the sound. Working on chatty sounds is fine at a young age, but making pressed or pushed sounds may make producing healthy sounds more difficult later.
拥有健康的演唱技巧意味着要控制好自己的音域。成年人的音域可能很广,但13岁的孩子可能只有一个八度音域(参见第一章),大约八个音符。音域会随着时间推移而发展,追求更高的音高从长远来看并无益处。当嗓音成熟时,歌手可以在余生中发出宏大的声音。确保你的青少年意识到运用呼吸和共鸣的优势,这有助于他们找到各种不同的声音。让他们知道,将来他们可以挑战更大的目标。
Having a healthy technique means singing within your range. An adult may have a wide range, but a 13-year-old may have only an octave range (see Chapter 1), which is about eight notes. Range develops with time, and pushing the singer higher offers no benefit in the long run. When the voice is ready, the singer can make huge sounds for the rest of his life. Make sure that your young teenager is aware of the advantages of using breath and resonance to help them find a variety of sounds. Let them know that they can shoot for the big guns later.
任何歌手,尤其是年轻歌手,都可以通过练习来提升他们的音乐生涯,那就是培养他们的听力。音准对唱是一项技能,你可以在第四章中了解。如果年轻人能够对唱,并且在第一次听到某个音色后能够唱出一系列音色,他们就更有可能快速掌握新歌。听力训练对最终进入合唱团的歌手也有帮助。唱出最高音女高音部分可能比较容易,因为它位于最高音,但中间部分可能比较难听。如果孩子已经接触过音程和和弦,那么中间部分——或者任何部分——都很容易掌握。
Something any singer, especially young singers, can work on to boost long-term musical life is developing their ear. Matching pitch is a skill you can read about in Chapter 4. If the youngster can match pitch but also sing a series of pitches after hearing them for the first time, they’re more likely to quickly conquer new songs. Ear training can also benefit singers who end up in the choir. Singing the top soprano part may be easy because it’s on the top, but those middle parts can be tricky to hear. If the youngster already has exposure to intervals and chords, the middle part — or any part — can be a snap.
无论你是否唱歌,所有人的声音都会随着年龄而改变。这就是为什么在电话里,你很容易就能分辨出你正在和年轻人还是老年人交谈。以下列出了几种可能影响唱歌的声音变化,并提供了一些应对技巧。
All voices change with age, whether you sing or not. That’s why, on the phone, you can easily tell whether you’re speaking with a younger or older person. The following list describes a few types of voice changes that may affect singing and offers tips on how to work around them.
月经周期:青春期后,月经周期是影响女性嗓音的一个重要生理因素。并非所有女性在月经期间都会经历相同的症状。有些女性会感到嗓音迟钝,仿佛嗓子非常疲劳或声带肿胀。有些女性会感到高音困难,或者低音沉重。而有些女性则没有任何变化。
追踪你的生理周期,这样你就能了解生理周期前、生理周期中和生理周期后出现的症状。你可能会发现,了解生理周期的时间可以帮助你安排在每月最合适的日期举办音乐会或试镜。
Menstrual cycle: One big physical aspect that affects the female voice after puberty is the menstrual cycle. Not all women experience the same symptoms during their menstrual cycle. Some experience a sluggish feeling, as if the voice is really tired or the cords are swollen. Some experience difficulty with high notes or produce low notes that feel really heavy. Other singers experience no change whatsoever.
Track your cycle so that you know the symptoms you experience right before, during, and after your cycle. You may find that knowing the timing of your cycle allows you to plan the concert or audition on just the right day of the month.
衰老:衰老的一个常见现象是颤音。你可能听过老一辈歌手唱歌时声音颤抖。颤音是由于肌肉张力不足造成的,尤其是唱歌时肌肉。定期锻炼唱歌肌肉可以帮助控制颤音。呼吸不顺畅是另一个导致唱歌颤音的常见因素。如果呼吸不顺畅,你的声音就更容易颤抖。稳定的气流有助于保持颤音的稳定。你也可以继续进行在直音和颤音之间来回切换的练习,以帮助保持对颤音的支撑能力。
颤音和颤动(wobble)并不相同。颤音是唱歌时音色的正常波动。颤音发生时,你可能会感到喉咙轻微颤动,这很正常。颤动是指颤音频率比正常颤音(大约每秒五到八个脉冲)慢得多时发生的。请参阅第六章,了解如何练习颤音。
Aging: One common occurrence with aging is the wobble. You may have heard older singers’ voices wobble when they sing. The wobble is a result of a lack of muscle toning, specifically in the singing muscles. Working your singing muscles on a regular basis can help keep that wobble at bay. Getting lax with your breath is another common factor that may contribute to a wobble in your singing. If your breath backs off, your voice is more likely to flounder or wobble. A steady flow of air helps keep the rate of the vibrato steady. You can also continue working on exercises that move back and forth from straight tone to vibrato, to help maintain your ability to support the vibrato.
Vibrato and a wobble aren’t the same. Vibrato is the normal undulation of pitch when you sing. You may feel the slight shaking feeling in your throat as the vibrato happens, and that’s normal. Wobble happens when the vibrato rate is much slower than normal vibrato, which is about five to eight pulses per second. See Chapter 6 for exercises that explore vibrato.
作为一名独立歌手,你渴望脱颖而出,独树一帜。你希望自己的歌声能够响彻整个大厅,甚至产生回响,让观众席中的每个人都能听到你的声音。独唱时,拥有浑厚而富有穿透力的声音至关重要,因此你可能需要集中精力提升自己的嗓音。然而,与合唱团一起演唱时,你可能会发现指挥会把手放在你面前,让你唱得更轻一些,融入到其他人的歌声中。
As an individual singer, you want to stand out and be unique. You want your voice to carry the hall or resound so every person in the audience hears you. Because having a resonant sound that projects is desirable in solo singing, you may want to focus your attention on projecting your voice. However, when singing with a choir, you may find the director holding their hand in front of your face to get you to sing more quietly and blend in with others.
在本节中,我将讨论与合唱团一起训练的好处。我还会告诉你作为独唱演员和在合唱团中唱歌的区别。(如果你决定作为独唱演员而不是合唱团成员,请参阅第15章,找到适合你的声乐老师。)
In this section, I discuss the benefits of training with a choir. I also tell you about the differences between singing as a soloist and singing in the choir. (If you decide to sing as a soloist instead of with a choir, check out Chapter 15 to find the right voice teacher for you.)
很多人非常享受合唱团的生活。你有机会演唱不同类型的音乐,还能和志同道合的人在一起。与一群人一起创作音乐,或许能让你在家独自练习和与一群人一起唱歌之间找到平衡。
Many people thoroughly enjoy being in a choir. You get a chance to sing different kinds of music, and you get to be around others who share your interest in music. Making music with a group of people may give you just the balance you need between practicing alone at home and singing with a group.
以下列表详细说明了参加合唱团唱歌所获得的一些好处。
The following list details some of the benefits you gain from singing with a choir.
你会学习如何根据感觉来监控声音。如果你听不出自己的声音是否突出,就必须依靠感觉来判断你的技术是否仍然良好。监控声音是个好主意,因为每个房间的情况都不一样——你不能依赖声音的反射。
有时合唱歌手会用手捂住耳朵来听自己的声音。你可以尝试用这个技巧,将自己的声音导回耳朵。但要注意,不要让旁边的人觉得你在试图遮挡他们的声音。
You discover how to monitor your sound based on how it feels. If you can’t hear your voice standing out, you have to rely on the feeling to determine whether your technique is still in good shape. Monitoring how your voice feels is a good idea because each room is different — you can’t rely on the sound bouncing back to you.
Sometimes choral singers cup their hand around their ear to hear their voice. You can try using this technique to direct the sound of your voice back to your ears. Just make sure that the person next to you doesn’t think that you’re trying to block out the sound of their voice.
在一周的漫长工作结束后,合唱带来的挑战和快乐或许正是你所需要的。唱歌是一种绝佳的放松方式,也是你通过音乐和歌声表达思想和感受的绝佳机会。如果你没有时间独自练习,加入合唱团或许能让你有机会定期享受唱歌的乐趣。
The challenge and joy of singing in a group may be just the lift you need at the end of a long week of work. Singing is a wonderful release and opportunity to express your thoughts and feelings through music and singing. Joining a choir may give you that regular opportunity to enjoy singing if you just don’t have the time to practice on your own.
取决于你想如何探索自己的歌喉,合唱团的演唱可能适合你,也可能不适合。因为合唱歌手的需求各不相同,在加入合唱团之前,您可能想了解合唱团训练和独唱之间的区别:
Depending on how you want to explore your own singing voice, singing with a choir may or may not be for you. Because the choral singer has different needs, before you join a choir, you may want to explore the differences between training with a choir and going solo:
第十五章
Chapter 15
本章内容
IN THIS CHAPTER
决定你想从课程中得到什么
Deciding what you want from lessons
了解声乐教师的常见政策
Understanding common policies of voice teachers
采访潜在教师并提出具体问题
Interviewing a potential teacher with specific questions
找到一位适合你的声乐老师是一件令人兴奋的事情。各种各样的声乐老师都渴望帮助你提升歌唱技巧,但你可能不知道如何选择声乐老师,也不知道课程本身会是什么样子。无论你的理解水平如何,本章都能为你提供关于选择声乐老师的见解和建议。本章还能帮助你了解对声乐老师、课程以及你自己的期望。
Finding the person who’s just the right voice teacher for you can be exciting. All kinds of voice teachers are waiting to help you develop your singing technique, but you may have no idea how to select a voice teacher or what to expect from the lesson itself. No matter what your level of understanding is, this chapter gives you insight and advice on selecting a voice teacher. This chapter also helps you know what to expect from the voice teacher, the lesson, and yourself.
无论你的歌唱水平如何,如果你想通过参加声乐课程来提高你的歌唱水平,你需要做好功课,找到最适合你的老师。我会为你提供一些寻找声乐老师的方法,以及一些在你踏入录音棚之前,可以问自己和未来老师的问题。
Regardless of your level of singing, if you want to improve your singing by taking voice lessons, you need to do your homework to find the one who best suits your needs. I provide you with some ways to find a voice teacher, as well as some questions to ask both yourself and the prospective teacher before you even step into the studio.
寻找声乐老师的方法有很多。以下列表可以帮助你轻松找到合适的老师:
You can track down a voice teacher in many ways. The following list makes finding a good teacher simple:
如果你无法确定自己想从课程中得到什么,那么选择声乐老师就很难。你可能会对未来的声乐老师有一些疑问,他们也可能对你有一些疑问。为了做好准备,在开始与未来的老师交谈之前,请考虑以下问题:
You can’t get far choosing a voice teacher if you can’t identify what you want out of your lessons. You may have questions for prospective voice teachers, and they may also have some for you. To be prepared, consider the following questions before you begin chatting with prospective teachers:
了解未来声乐老师的基本信息(例如资历和费用)与确定您对声乐老师的要求同样重要。
Finding out basic information about a prospective voice teacher, such as qualifications and costs, is just as important as identifying what you want from a voice teacher.
仔细检查你的预算,了解你能在课程上花多少钱,这是一个很好的开始。你肯定不想在最后一刻才发现你负担不起某个老师的课程费用。以下部分包含一些问题,可以帮助你了解你需要支付多少钱。此外,我还会告诉你如何了解未来声乐老师的背景。
Reviewing your budget so you know how much you can spend on lessons is a great first step. You don’t want to get stuck adding up costs at the last minute only to find out that you can’t afford lessons with a particular teacher. The following sections include questions to help you get a grasp on how much money you’re gonna have to fork over. In addition, I tell you how to get some answers about a prospective voice teacher’s background.
你想问一位未来教师的第一个问题是“你教了多少年了?” 你想了解这个人的教学经验是否超过几年。但不要想当然地认为你不想和一位刚刚起步的老师一起工作。考虑以下几点:
One of the first questions you want to ask a prospective teacher is “How many years have you been teaching?” You want to find out whether this person has been teaching more than just a few years. But don’t automatically assume that you don’t want to work with a teacher who’s just getting started. Consider the following:
经验丰富的老师可能知道如何解决你想要关注的那种发声问题。他们可能拥有多年的教学经验,并且可能掌握多种讲解技巧的方法,确保你能够理解。如果未来的老师执教时间较长,你也更有可能找到一些现在或以前的学生,他们可以向你介绍他们的强项。
如果您有一些严重的声音健康问题,例如节点或严重的胃酸反流(参见第 23 章),我建议您找一位熟悉声音康复的经验丰富的老师。
A more experienced teacher may know how to address the type of vocal problems you want to focus on. They may also have years of experience explaining how to do something and may have a variety of ways to explain the technique so you’re sure to understand. If the prospective teacher has been around for a while, you’re also more likely to find some current or former students who can tell you about their strengths.
If you have some serious vocal health problems, such as nodes or severe acid reflux (see Chapter 23), I recommend finding an experienced teacher who is familiar with rehabilitating voices.
一定要询问老师在哪里学习或接受过声乐教育。你需要一位拥有多年演出经验,或在专注于声乐的课程中接受过多年培训的声乐老师。这并不意味着老师必须拥有常春藤盟校的学位才能成为一名好老师。他们只需要对声乐有深入的了解,并且知道如何将声乐知识传授给学生。
Be sure to ask where the teacher studied or got their singing education. You want a voice teacher who’s had years of performance experience or years of lessons or training in a program that focuses on the singing voice. That doesn’t mean the teacher has to have a degree from an Ivy League school to be a good teacher. They just need to know a great deal about singing and know how to pass on the knowledge of singing to their students.
如果你对用其他语言演唱古典音乐或合唱音乐感兴趣,可以在交谈中了解这位老师是否懂外语。你可以通过询问学生唱什么类型的歌曲来找到答案。
If you’re interested in singing classical music or choral music in other languages, find out during your conversation whether this teacher has knowledge of foreign languages. You can discover this answer by asking what kind of songs the students sing.
合唱团指挥和钢琴老师通常也教授声乐。只要他们了解声音的运作方式,并且知道如何在出现问题时提供帮助,就值得一试。如果你确实要向合唱团指挥学习,不妨了解一下他们的训练中有多少是关于个人演唱的。许多学位课程允许合唱团指挥在对声音的工作原理一无所知的情况下毕业。他们花费大量时间指导合唱团发出优美的声音,但如何发出这些声音对于声乐课程来说至关重要。
Choir directors and piano teachers commonly also teach voice. As long as they know quite a bit about how the voice works and how to help when something goes wrong, they’re worth a try. If you do take lessons from the choir director, find out how much of their training was about individual singing. Many degree programs allow choral directors to graduate without any knowledge of how the voice actually works. They spend many hours coaching choirs to make lovely sounds, but how to make those sounds is important for voice lessons.
了解老师是否专注于不同的音乐风格。例如,老师是否了解高声演唱以及如何在音乐剧中教授高声演唱?你需要了解老师是否对你喜欢的音乐类型感兴趣。如果他们只指定歌曲,不允许学生选择,那么在决定之前,想想你对他们喜欢的音乐风格有何感受。如果你需要某种特定类型的嗓音方面的帮助,例如假声男高音(参见第二章),或者你需要某种特定演唱风格的帮助,例如爵士乐、流行音乐或高声演唱,请确保未来的老师能够适应你的嗓音类型或你感兴趣的演唱风格。
Find out whether the teacher focuses on different styles of music. For example, does the teacher understand belting and how to teach it for musical theater? You want to find out whether the teacher is interested in the same kind of music you enjoy. If they only assign songs and don’t allow the student to choose, think about how you feel about their preferred style of music before you commit. If you need help with a specific type of voice, such as a countertenor (see Chapter 2), or if you want specific kinds of help with styles of singing, such as jazz, pop, or belting, make sure that the prospective teacher can work with your voice type or the particular style of singing you’re interested in pursuing.
声乐老师通常会在课程的第一部分为你弹奏,那时你会练习技巧,但可能弹得不够好,无法应付歌曲中比较难的伴奏。许多钢琴弹得不好的声乐老师会聘请钢琴师为学生伴奏。你需要确认这位额外钢琴师的费用是否已经包含在你的课程费用中。
The voice teacher usually plays during the first part of the lesson when you work on technique but may not play well enough to tackle the difficult accompaniment in your song. Many voice teachers who don’t play the piano well hire a pianist to accompany their students. You need to find out whether the cost for this extra person is already figured into the cost of your lesson.
许多老师会使用伴奏录音(称为曲目)供学生跟唱——这很可能是在线课程的选择。你的老师可能还会有一台预录歌曲的键盘。你也可以考虑找一位排练钢琴师为你录制歌曲,这样你就可以带着录音去上课跟着唱。请参阅第16章,了解如何查找歌曲的录音。
Many teachers use accompaniment recordings called tracks for the students to sing along with — that’s most likely the option for online lessons. Your teacher also may have a keyboard with songs already programmed into it. You may also consider finding a rehearsal pianist to record songs for you so that you can take a recording to your lessons and sing along. Check out Chapter 16 for information about finding recordings of your song.
老师上课地点也是需要考虑的因素。老师可能在家里、工作室、学校,甚至在你家上课。
Where the teacher conducts lessons is another consideration. The teacher may hold lessons at home, at a studio, at a school, or even at your home.
如果老师愿意上门授课,这无疑是最方便的选择。不过,请记住,你可能需要为此支付更多费用(请参阅下一节)。
If the teacher is willing to come to your home, that certainly may be your most convenient option. However, keep in mind that you may have to pay more for this convenience (see the next section).
同样重要的是,你需要知道老师的学生在哪里表演。老师可能会告诉你有多少学生在当地演出或其他当地场所表演。问这个问题可以让你了解他们对老师来自当地的表演场所,您会对工作室内学生的多样性有所了解。
Just as important, you need to know where the teacher’s students perform. The teacher may tell you how many of their students are performing in local productions or other local venues. Asking this question gives you an idea of how familiar the teacher is with local performing venues, and you’ll get some idea about the variety of students within the studio.
声乐课的费用因地点而异。纽约市或旧金山的声乐课价格可能比中西部小镇的要高。如果您的预算允许,您也可以咨询老师是否可以选择半小时的课程(或每隔一周一小时的课程)。许多声乐老师会在自己的网站或声乐课推广网站上发布广告,并且大多数都包含每小时的课程价格。您可以在线搜索,了解您所在地区的常见价格范围。
The cost of voice lessons varies depending on location. The price of voice lessons in New York City or San Francisco may cost more than in a small town in the Midwest. You may also want to ask the teacher whether you can opt for a half-hour lesson (or an hour lesson every other week), if that fits your budget better. Many voice teachers advertise on their own website or on sites that advertise voice lessons, and most include the price per hour for lessons. You can search online to get an idea of what’s a common price range for your area.
如果你是初学者,你可能更倾向于上半小时的课。你的肌肉还在适应阶段,而且半小时的练习后你的声音和大脑可能已经很累了。等你的技能提高后,你可以增加课时。
If you’re a beginner, you may prefer taking a half-hour lesson anyway. Your muscles are just figuring out what to do, and your voice and brain may be quite tired after a half hour of work. When your skills improve, you can increase the time.
声乐老师的名气也会影响费用。表演事业有成或学生出名的声乐老师收费会比刚入行的老师高。随着你的技术进步,名师或许能帮你建立业内人脉,但高昂的价格并不保证能取得更好的效果或找到更好的老师。你必须试听几节课才能知道它是否适合你。
The fame of the voice teacher can also affect the cost. Voice teachers who’ve had successful performance careers or famous students charge more than teachers just starting out. The famous teacher may be able to help you with contacts in the business as your technique advances, but high prices don’t guarantee better results or a better teacher. You have to try some lessons to know whether it works for you.
询问老师的付款政策。如果你同意每周与老师约定特定的课程时间,老师可能会要求你提前付款。这种政策在拥有大型教室的老师中很常见。其他老师可能允许你在资金充足时再安排课程。在初次交谈时询问课程安排,以免遇到任何意外情况。
Ask about the teacher’s payment policy. If you agree to set a specific lesson time each week with a teacher, the teacher may require that you pay in advance. This policy is common with teachers who have large studios. Other teachers may allow you to set up a lesson whenever you find enough money. Ask about scheduling during your initial conversation so that you don’t encounter any surprises.
您还需要询问付款方式。许多老师接受多种付款方式,包括信用卡、支票、现金,以及通过 Zelle 或 Venmo 等在线银行应用程序。如果您提前付款,请记录课程数量。大多数老师都能很好地跟上课程进度,但您需要知道下次付款的截止日期。
You also want to ask about the method of payment. Many teachers accept multiple types of payment from credit cards, check, cash, or via an online bank app like Zelle or Venmo. If you pay in advance, keep track of the number of lessons. Most teachers are good about keeping up with lessons, but you want to know when that next payment is due.
你需要了解取消政策。你肯定不想因为请病假而老师要求你支付缺课费用而措手不及。大多数老师要求你提前24小时通知取消课程。有些老师则要求你在规定时间内补课,以免受到处罚。务必询问清楚,以便在需要取消课程时了解有哪些选择。
You need to know the cancellation policy. You don’t want to be surprised when you call in sick and the teacher requires you to pay for the missed lesson. Most teachers require that you give 24 hours’ notice if you need to cancel a lesson. Other teachers require that you make up a lesson within a certain period of time to avoid being penalized. Be sure to ask so that you know going in what your options are if you need to cancel.
声乐课通常是你和老师单独上课的时间,所以你希望自己感到舒适,并且对自己的声乐训练感到满意。为了评估你和老师的配合程度,你需要了解接下来的课程内容,以下部分将对此进行探讨。
A voice lesson is usually a time when you’re alone with one person, so you want to feel comfortable and also feel positive about the work you’re doing on your voice. To evaluate how well you work with your teacher, you need to know what you can expect, which the following sections discuss.
对课程感到满意是双向的。课程的目的是让你学到更多关于唱歌的知识,所以你希望老师专注于你的学习。然而,你也需要能够很好地接受批评。
Feeling good about your lesson is a two-way road. The purpose of a lesson is to gain more information about singing, so you want your teacher to focus on the work. However, you need to able to shoulder criticism well.
在声乐课上,你会进行大量的唱歌,你的老师需要对你发出的声音给予反馈,并提供改善这些声音的方法的建议。
During a voice lesson, you’re doing plenty of singing, and your teacher needs to give you feedback on the sounds you’re making and offer suggestions on ways to improve those sounds.
专注于练习能让你把老师的建设性批评视为提升自己水平的途径。如果你更喜欢在不被批评的情况下唱完整首歌,那么找一位排练钢琴师可能会更有帮助。声乐老师的职责是帮助你进步,任何称职的老师都会提出建设性的批评。
Focusing on the work helps you see the teacher’s constructive criticism as a means to get you to the next level. If you prefer to sing through songs without the criticism, you may be happier finding a rehearsal pianist. A voice teacher’s role is to help you improve, and any teacher worth their salt is going to offer constructive criticism.
要想在每节课上都充满自信,你需要知道要练习什么。上课时,老师需要建议一些练习,帮助你提高技巧。然后,他们需要帮助你将这些概念运用到你正在演唱的歌曲中。如果你不确定要练习什么,可以请老师明确下一节课要重点练习哪些练习。
To feel confident at each lesson, you need to know what to practice. During your lesson, your teacher needs to suggest exercises for you to practice to help you improve your technique. They then need to help you apply those concepts to songs that you’re singing. If you aren’t sure about what to practice, you can ask your teacher to clarify which exercises to focus on for the next lesson.
因为你无法看到自己的声音,所以你需要一些工具来帮助你做出改变。获得这些工具的方法之一是确保你的课程运用各种技巧,比如想象法。
Because you can’t see your voice, you need some tools to help you make changes. One way to obtain these tools is to make sure that your lesson involves working with a variety of techniques, such as imagery.
老师可能会用图片来帮助你理解如何发出最佳声音。老师可能会让你注意唱歌时的感觉,给你一些视觉上的画面,或者给你一些听觉上的提示。这三种方法都能很好地帮助你练习发声。你也可能会发现其中一种方法最适合你。了解你喜欢的方法是很重要的,因为你可以将老师说的话翻译成你自己的语言。例如,如果老师向你描述某个东西,并解释其工作原理,你可能会记得自己发出最佳声音时的感觉。如果你喜欢用图片来练习,你可以找到一种将声音视觉化的方法,以增强你的体验。
The teacher may use images to help you understand how to make the best sounds. The teacher may ask you to notice the sensations as you sing, give you something to visualize as you sing, or give you something to listen for. All three approaches can work beautifully for you as you work on your voice. You may also find that one approach works best for you. Knowing your preferred approach is good because you can translate what your teacher says into your own language. For instance, if your teacher describes something to you and explains the anatomy of why that worked, you may remember what it felt like when you made the best sounds. If you enjoy working with images, you can find a way to visualize the sound to enhance your experience.
如果老师想用物理的方式解释发生了什么,别担心。一开始你可能不想知道,但之后你可能会庆幸自己理解了某个图像的工作原理。
Don’t fret if a teacher wants to explain physically what’s happening. You may not want to know in the beginning, but later you may be glad that you understand why a particular image works.
教人唱歌是一项古老的职业。如果你遇到一位声称拥有“前所未见、改变人生的教学体系”的老师,请务必谨慎。你需要一位基于事实而非实验的老师。你的声音可能与老师的声音截然不同。如果你的老师至少教了五年,这并非问题。希望他们遇到过不同的声音问题,并找到了解决方法。
Teaching people to sing is an old profession. If you encounter a teacher who claims to have a “never-before-revealed, life-altering system of teaching,” be wary. You want a teacher who bases their teaching on facts, not just experiments. Your voice may be very different from your teacher’s voice. That’s not a problem if your teacher has been teaching for at least five years. Hopefully they’ve encountered different vocal problems and figured out a way to work with them.
如果你和未来的老师讨论课程,而他们没有一套“系统”的教学方法,也没关系。很多优秀的老师会把他们接触到的所有信息整合成自己的教学方法。
If you discuss lessons with a prospective teacher and they don’t have a “system” of teaching, that’s okay. Many great teachers combine all the information they’ve encountered into their own method.
是的,你确实需要为自己的歌唱成功承担一些责任。虽然了解老师的期望很重要(详情请参阅上一节),但了解课内课外你需要做什么也同样重要。
Yes, you do have to take some responsibility for creating your own singing success. Although knowing what to expect from your teacher is important (see the previous section for details), understanding what you need to be doing in and out of your lessons is just as important.
你可能每周都会和你的声乐老师上课,但你必须在课间练习,以便运用每周讲到的技巧。熟能生巧。(更多关于练习的细节,请参阅第十章。)
You may have a weekly lesson with your voice teacher, but you have to practice between lessons to apply the techniques discussed each week. Practice leads to improvement. (For more details about practicing, check out Chapter 10.)
建立适合自己的练习习惯的最佳方法是记录所有课程和练习环节,并记在日记里。录制课程内容是为了方便你听录音,了解自己在这段时间里做出的改变。边听录音边做笔记,可以帮助你弄清楚自己是如何做出这些改变的,这样你就可以自己再次练习。
The best way to create a practice routine that works for you is to record any lessons and practice sessions and to keep notes in a journal. You want to record the lesson so that you can listen to it to hear the changes you make during that time. Taking notes as you listen to the recording helps you figure out how you made those changes so that you can make them again on your own.
每节声乐课结束时,我建议歌手们在下一节课前回顾一下需要练习的内容。如果你回顾了你打算重点练习的重要概念,你和你的老师都会有一个目标清单。你的目标是完成练习,而你的老师的目标是在下一节课上听你的演唱,以确定你是否需要继续练习,还是需要进一步拓展你的练习。
At the end of each voice lesson, I recommend that singers recap what they need to practice before the next lesson. If you recap the big concepts that you intend to focus on, you and your teacher both have a list of goals. Your goal is to do the work, and your teacher’s goal is to listen to you sing at the next lesson to determine whether you need to continue in the same direction or expand your work.
在课堂上,你应该专注于整个声音,并在各个方面找到良好的平衡。如果你在“缺陷”上花费太多时间,你可能会感到沮丧,觉得自己什么也做不了。在练习和课堂之间找到平衡,这样你既可以练习自己擅长的技巧,也可以练习自己不擅长的技巧。希望随着每次练习,你做得不好的地方越来越少。
In your lesson, you want to focus on the entire voice and find a good balance of skills in all areas. If you spend too much time on the “flaw,” you may get discouraged and feel like you can’t do anything. Find a balance for your practice session and your lesson so that you work on techniques you do well and others that you don’t do well. Hopefully the list of what you don’t do so well grows shorter with each practice session.
如果你发现老师过于关注你的缺点,导致你感到沮丧,可以向老师寻求反馈,看看你哪些地方做得好。不要羞于在课堂上寻求积极的鼓励。你的老师可能认为你知道自己哪些地方做得好,所以可能不会经常告诉你。如果你提醒他们这一点,他们可能会给你一些必要的鼓励。
If you find that your teacher is focusing so much on your flaws that you’re becoming discouraged, ask your teacher for feedback on what you’re doing well. Don’t be shy about asking for positive reinforcement in lessons. Your teacher may assume that you know what you’re doing well and may not be telling you as often. If you call this to their attention, they can offer you some needed words of encouragement.
如果你从未上过声乐课,那么在第一节课上你可能会感到紧张。老师知道第一节课会有点害怕,可能会鼓励你勇敢地尝试一些新的声音。承认你的紧张,并知道这种感觉完全正常。
If you’ve never had a voice lesson, you may be nervous during your first lesson. The teacher knows that the first lesson is a little bit scary and may encourage you to be brave and try to make some new sounds. Admit that you’re nervous and know that feeling this way is perfectly normal.
在您选择了声乐老师并了解课程内容后,请查看以下列表以获取有关如何使您的第一堂课顺利进行的一些提示。
After you choose a voice teacher and know what to expect from the lesson, check out the following list to get a few tips on how to make your first lesson go smoothly.
带上一瓶水,唱歌时保持喉咙湿润。你也需要保持水分。
除非老师允许,否则不要把水洒在钢琴上。钢琴很贵,把水洒在小型三角钢琴上会留下非常糟糕(而且昂贵)的持久痕迹。
Bring along a bottle of water to keep your throat moist during all the singing. You want to stay hydrated too.
Don’t set the water on the piano unless your teacher tells you that it’s okay. Pianos are expensive, and spilling your water into the baby grand makes a really bad (and expensive) lasting impression.
第 4 部分
Part 4
在本部分中……
IN THIS PART …
第十六章
Chapter 16
本章内容
IN THIS CHAPTER
定义初级、中级和高级歌曲
Defining beginner, intermediate, and advanced songs
探索一些熟悉的歌曲
Exploring some familiar songs
在网上或音乐商店中查找歌曲
Finding songs online or in music stores
在本章中,你将学习如何选择合适的歌曲以及在哪里找到乐谱。我将向你展示如何选择合适的格式和调性,找到适合你水平的歌曲,并展现你的优势。了解是购买原版乐谱、仿制乐谱(只有旋律线、和弦符号和歌词的乐谱)还是乐谱,会让你的购物体验更加轻松。缩小选择范围后,你甚至可以下载电子版乐谱。
In this chapter, you discover how to choose an appropriate song and where to find the music. I show you how to choose the right format and key, find a song at your level, and show off your strengths. Knowing whether to buy the original score, a fake book (a book with only the melody line, chord symbols, and words), or sheet music makes your shopping experience so much easier. When you’ve narrowed your choices, you can even download the music digitally.
创作一首新歌真的很有趣。深入研究新歌的措辞、故事以及演唱技巧,可以让你投入数小时的创作时间,享受其中的乐趣。然而,选择歌曲的过程却让许多歌手感到困惑。继续阅读,了解一些关于如何选择合适歌曲的技巧。
Starting a new song can be so much fun. Digging into the phrasing, the story, and the vocal challenges of a new song can provide hours of entertaining work. But the process of choosing the song can stump many singers. Keep reading for some tips on how to select the right song for you.
你此刻的专业水平和技术能力是寻找歌曲演唱的首要决定因素。选择一首难度过高的歌曲选那些对你来说太简单的歌曲肯定会让你感到沮丧。另一方面,选择那些对你来说太简单的歌曲,虽然能让你唱出有趣的歌曲,但却无助于提高你的歌唱技巧。
Your level of expertise and technical ability at this moment in time is the primary determination when finding music to sing. Choosing a song that’s too hard for you is sure to frustrate you. On the other hand, selecting material that’s too easy for you may give you fun songs to sing, but it won’t help advance your singing technique.
以下列表包含三个基本歌曲级别供您选择。(更多信息,请参阅附录 A,其中列出了适合不同声部类型的不同音乐风格的歌曲。)
The following list includes the three basic song levels you want to choose from. (For more info, check out Appendix A, which lists songs in different styles of music for various voice types.)
初学者: 初学者歌曲节奏简单,音域较窄,伴奏部分演奏歌手的旋律,发音机会简单。
初学者歌曲的例子包括《音乐之声》和《雪绒花》。《音乐之声》的节奏相当容易数,音域也不太宽泛。《雪绒花》的旋律也很流畅,可以帮助你练习乐句。
其他初学者歌曲包括:
Beginner: Beginner songs have simple rhythms, a narrow range, an accompaniment part that plays the singer’s melody, and simple articulation opportunities.
Examples of a beginner song include “The Sound of Music” and “Edelweiss” from The Sound of Music. “The Sound of Music” has rhythms that are fairly easy to count, and the range isn’t too extreme. “Edelweiss” also has smooth lines to help you work on phrasing.
Other beginner songs include the following:
中级: 中级歌曲的节奏较难,会测试你略高于现有水平的水平。如果你是中级歌手,可以选择音域更宽的歌曲,用几个高音来测试你的高音,用更难的音程来挑战你的听力,以及探索更精细的发音技巧的机会。钢琴伴奏可能不会逐音符地跟随旋律。其中一些元素在中级歌曲中出现,但并非所有元素都会出现在同一首歌曲中。
一些中级歌曲包括由埃莉诺·法杰恩 (Eleanor Farjeon) 创作、卡特·史蒂文斯 (Cat Stevens) 编曲的《Morning Has Broken》和《音乐之声》中的《My Favorite Things》。《Morning Has Broken》是一首中级歌曲,因为与《Edelweiss》相比,它的旋律让你在音区之间移动,音域更宽,有一些高音,而且跳跃比逐步移动的歌曲更大。《My Favorite Things》移动速度很快,比同一节目中的《音乐之声》具有更多变化和更复杂的节奏,歌词的发音必须更快。在你积累了练习《Edelweiss》等较慢歌曲的经验,让你的发音更流畅之后,像《My Favorite Things》这样的歌曲会给你带来更快发音的挑战。
以下是您可能熟悉的中级歌曲列表:
Intermediate: Intermediate songs have harder rhythms that test you a bit beyond your current level. If you’re an intermediate-level singer, you can opt for a wider range, a few high notes to test your top notes, more difficult intervals that challenge your ear, and opportunities to explore more detailed articulation. The piano accompaniment may not follow the melody note for note. Some of these elements are in an intermediate song, but not all of these may be in the same song.
Some intermediate songs include “Morning Has Broken” by Eleanor Farjeon and arranged by Cat Stevens and “My Favorite Things” from The Sound of Music. “Morning Has Broken” is an intermediate song because the melody gets you moving between registers and has a wider range with some higher notes, compared to “Edelweiss,” and the leaps are wider than in songs that move in stepwise motion. “My Favorite Things” moves quickly, with more variety and more complex rhythms than “The Sound of Music” from the same show, and the articulation of text has to be much faster. After you get some experience working on slower songs, such as “Edelweiss,” to get your articulation fluid, a song like “My Favorite Things” offers you the challenge of articulating faster.
The following is a list of familiar intermediate-level songs that you may recognize:
高级:高级歌曲是真正考验你技能的歌曲。你唱的旋律可能与伴奏完全不同,并且音程并不总是与钢琴音乐融为一体。你可能会遇到需要控制气息的长音、需要技巧演奏的几个高音、需要你在运用技术技巧的同时完成歌词的详细故事、能够让你描绘故事高度的歌词,以及传达适合歌曲的特定风格的机会,例如高音带、古典合法性或乡村歌曲的鼻音。我在第14 章讨论了不同歌唱风格的训练。有关高声演唱的更多信息,请参见第 13 章。当你成为高级歌手时,你已经很了解自己的声音了,所以我没有在附录 A中包含适合高级歌手的歌曲。
您可能知道的高级歌曲列表包括以下内容:
这些歌曲之所以被列入高级曲目,是因为它们的音程较大,或者需要多种技巧。你也可以找到更复杂的歌曲,但我建议你在学习初级或中级歌曲的过程中,逐步磨练你的技巧,然后再进入高级曲目。接下来的部分可以帮助你了解自己的专业水平。
Advanced: An advanced song is a song that really tests your skills. The melody you sing may be completely different from the accompaniment and have intervals that don’t always blend with the piano music. You may be confronted with long notes that require breath control, several high notes that demand skill in execution, a detailed story that requires you to make the journey of the text as you use your technical skill, text that enables you to portray the height of the story, and an opportunity to convey the specific style appropriate for the song, such as high belt, classical legit, or the twang of a country song. I discuss training for different styles of singing in Chapter 14. See Chapter 13 for more on belting. You know your voice well by the time you’re an advanced singer, so I don’t include songs for advanced singers in Appendix A.
A list of advanced songs you may know include the following:
These songs are in the advanced list because the intervals are large or require multiple technical skills. You can find more complicated songs, but I encourage you to gradually refine your skills as you work on technique in beginner or intermediate songs before heading on to the advanced list. The upcoming sections can help you figure out your level of expertise.
如果你的音域大约是八个音符,那么入门歌曲就适合你。中级歌曲的音域小于两个八度,而高级歌曲的音域可能大于两个八度。更多关于乐谱的信息,请参阅第一章。
If your range is about eight notes, a beginner song works for you. An intermediate song has a range less than two octaves, and an advanced song may have a range wider than two octaves. For more on musical notation, see Chapter 1.
你唱旋律中的大跳跃时感觉如何?许多初学者歌曲都是阶梯式的,这意味着旋律中的音符彼此相邻。你可能知道的一个例子是“玛丽有只小羊羔”。没错,这是一首童谣,但试着唱一下——你会注意到大多数音符都彼此相邻,这就是阶梯式的。
How comfortable are you singing big leaps in a melody? Many beginner songs move in stepwise motion, which means that the notes in the melody are right next to each other. An example you may know is “Mary Had a Little Lamb.” Yes, it’s a nursery rhyme, but try singing it — you’ll notice that most of the notes are right next to each other, and that’s stepwise motion.
中级歌曲的音程在同一个音域内有较大的跳跃,而高级歌曲的跳跃则需要平滑的音域变化。较大的音程(两个音符之间的距离)对你的听力有挑战性。花些时间练习歌曲中的较大音程,确保你的喉咙保持打开(参见第 6 章),呼吸保持连贯(参见第 4 章),喉头保持稳定(参见第 5 章)。唱较大的音程也能让你听得更多。如果你能弄清楚较大的音程,那么当你在下一首歌中看到相同的音程时,你就更有可能重复这个音。
Intermediate songs have bigger leaps that are in the same register, and advanced songs can have leaps that require smooth register changes. Wider intervals (the distance between two notes) challenge your ear. Spend some time working the larger intervals in a song to make sure that your throat stays open (see Chapter 6), your breath is flowing consistently (see Chapter 4), and your larynx stays steady (see Chapter 5). Singing wider intervals also makes you listen more. If you figure out the wider intervals, you’re more likely to repeat that sound when you see the same interval in your next song.
你能唱出的最高音是多少?假设你的最高音是男歌手的F4(钢琴上中央C上方的F),女歌手的F5,或者高音谱号谱表的上一行(有关谱表和音符名称的解释,请参阅第一章)。那么,请考虑以下策略:
What’s the highest note you can sing successfully? Suppose that your highest note is F4 for a male singer (F just above middle C on the piano) or F5 for a female singer, or the top line on the treble clef staff (see Chapter 1 for an explanation about staff and note names). Then consider these strategies:
练习时为什么会感到疲劳?很多歌手在唱大多数音符停留在最高音区的歌曲时会感到疲劳。即使歌曲中你的最高音重复次数不多,但如果大多数音符都停留在最高音区附近,你也可能会感到疲劳。唱歌就好比举重。你可以举起重物几次,但你能举多久呢?当你的音域停留在最高音区附近时,你就是在举起重物——换句话说,你需要消耗大量的体能来维持这种体力消耗。如果高音来得飞快,这或许能让你轻松地唱出这些音符,但这也可能是一个相当大的挑战。
What causes you to get tired as you’re practicing? Many singers tire when they sing a song in which most notes stay at the top of their range. Even if the song doesn’t have many repetitions of your highest note, if the majority of the notes sit near that top note, you may get tired. Think of singing as similar to lifting weights. You can lift a weight several times, but how long can you hold it up? When you’re staying near the top part of your range, you’re holding up the weight — in other words, you’re using quite a bit of body energy to maintain that physical exertion. If the high notes come at rapid-fire pace, that may be just the thing to get you singing the notes without worrying about it, but it can also be quite a challenge.
这首歌的速度是多少?歌曲的速度可能会让你以闪电般的速度吐出单词。如果你一直在练习发音(参见第8章和第9章),你可以轻松地吐出这些单词,而不会因为发音器官(舌头和嘴唇)的不断运动而感到紧张。考虑以下几点:
What is the song’s speed? A song’s speed may cause you to spit out words at the speed of lightening. If you’ve been working on articulation (see Chapters 8 and 9), you can spit out those words easily without getting tense from the constant movement of your articulators (tongue and lips). Consider the following:
你用钢琴或其他乐器伴奏唱歌有多自信?继续阅读,了解更多信息:
How confident are you singing with a piano or other musical accompaniment? Keep reading to find out more:
你在演唱一首歌时,能熟练地融合多种细节吗?当你第一次看到或听到一首歌时,你可能需要听几遍才能找到感觉。
How comfortable are you at combining multiple details when singing a song? When you look at a song or hear it for the first time, you probably need to hear it a few times to get a feel for it.
在构思一首歌曲时,通过分解细节(参见第17章),你更有可能更快地掌握歌曲的所有部分。如果你的耳朵能很快地掌握一首曲子,你可能会认为自己能够演奏更难的歌曲。在学习更高级的歌曲之前,给自己一些时间来练习歌曲,掌握各种技术细节,例如呼吸、吐字和叙事。
By breaking down the details when you figure out a song (see Chapter 17), you’re more likely to get all the pieces of the song working faster. If your ear picks up a tune pretty fast, you may assume that you can take on harder songs. Give yourself some time to work on songs and master a variety of technical details, such as breathing, articulation, and storytelling, before you jump to more advanced songs.
你对边演边唱有多熟悉?电视或舞台上的演员看起来很容易,但边演边唱却是一项技巧,能让歌曲听起来和听起来都很棒。考虑以下细节:
How familiar are you with acting and singing at the same time? Actors on television or stage make it look so easy, but acting and singing at the same time is a skill to make the song sound good and look good at the same time. Consider these details:
有关表演和唱歌的更多信息,请参阅第 18 章。
See Chapter 18 for more on acting and singing.
你对节奏的掌握程度如何?有些歌手能很快掌握节奏,而有些歌手则很难区分不同的声音。请记住以下几点:
How comfortable are you with rhythms? Some singers can pick up rhythms quickly, whereas others struggle to hear the difference between sounds. Keep the following in mind:
想要更多节奏方面的帮助,可以参考马克·菲利普斯和乔恩·查佩尔合著的《吉他入门》(Guitar For Dummies ),或者布莱克·尼利合著的《钢琴入门》( Piano For Dummies)(均由约翰·威利父子公司出版)。如果你对节奏略知一二,可以看看这首歌,判断它的音乐性是否复杂。
For more help with rhythms, check out the latest editions of Guitar For Dummies by Mark Phillips and Jon Chappell, or Piano For Dummies by Blake Neely (both published by John Wiley & Sons, Inc). If you know a bit about rhythms, you can look at the song and determine whether the piece is complicated musically.
你可能会在收音机里听到一首好歌,然后赶紧上网买乐谱,准备在家弹唱。诀窍在于,你得足够懂乐谱,知道这首歌的音符是否在你的音域之内。你不必完全了解乐谱上的内容;你只需要足够了解,能够分辨出适合你的调和不适合你的调之间的区别就行了。
You may hear a great song on the radio and rush online to buy the sheet music so you can sing it at home. The trick is to read music well enough to know whether the song’s notes are within your range. You don’t have to know everything about what’s on the page; you just need to know enough to discern the difference between the right key for you and the wrong key.
当歌手说“我需要这首歌的调高一点”时,意思是他们想让歌曲的音符更高。看过歌曲之后,你可能也会决定让音符更低一点——也就是说,你需要用更低的调来演唱这首歌。歌曲的调只是意味着这首歌是以一个音符作为中心音或主音来写的。这个中心音就是调的名称。如果 C 是中心音,你会在歌曲中定期回到 C 调。你不需要完全了解读乐谱,但你需要知道你想让歌曲高四级还是高两级。想让歌曲高一点意味着你想让歌曲在你的音域中处于更高的位置。
When a singer says, “I need this song in a higher key,” it means that they want the notes of the song higher. After looking at the song, you may also determine that you want the notes to be lower — that is, you need to sing the song in a lower key. A song’s key just means that the song is written with one note as the central note, or tonic. That central note is the name of the key. If C is the central note, you regularly return to C in the song. You don’t have to know all about reading music, but you need to know whether you want the song four steps higher or two steps higher. Wanting the song in a higher key means you want the song to sit higher in your range.
有时歌手会问“我的调是什么?”,其实他们的意思是“我的音域是多少?”并非所有以C为中心音的歌曲都有相同的音域。你需要能够描述你的音域(参见第2章和第11章),并知道这首歌需要高调还是低调。
Sometimes singers ask, “What’s my key?” when they actually mean, “What’s my range?” Not every song that has C as the central note has the same range. You want to be able to describe your range (see Chapters 2 and 11) and to know whether you need the song in a higher or lower key.
你可能喜欢听歌剧咏叹调,但还不会唱。即使你的汽车收音机调到乡村音乐电台。如果你选择一首歌是为了娱乐和自己的聆听乐趣,那就选择一首你喜欢的风格,但又能挑战你演唱技巧的歌曲。你可以选择一些纯粹为了娱乐的歌曲,也可以选择一些需要你多加练习技巧的歌曲。
You may love to listen to operatic arias but aren’t yet able to sing one. Your voice may be suited to belting out show tunes, even though your car radio is set to the country music station. If you’re choosing a song to sing for fun and for your own listening pleasure, settle on a song in a style that you like but that also challenges you to use your knowledge of technique. You can choose some songs to sing for fun and some that make you work a little harder on your technique.
第 20 章将帮助您选择适合自己的试唱歌曲。如果您选择古典音乐,请确保音乐适合您的声音类型。如果您是女中音,请选择为该声音编写的咏叹调。为女中音编写的咏叹调通常与为女高音编写的咏叹调音域相同,但女高音咏叹调的音高高于女中音咏叹调。阅读第 2 章,了解有关声音类型以及如何确定自己的声音类型的信息。如果您喜欢古典音乐,那么艺术歌曲(非歌剧中的古典歌曲)是练习技巧的绝佳选择。在附录 A的歌曲列表中查找艺术歌曲。对于流行、民谣、乡村和其他演唱风格,请参阅第 14 章,了解更多关于演唱不同音乐风格的信息。
Chapter 20 helps you choose an audition song that works for you. If you’re going the classical route, make sure that the music is appropriate for your voice type. If you’re a mezzo-soprano, opt for arias written for that voice. Arias written for the mezzo voice often have the same range as arias written for sopranos, but the notes in the soprano aria stay higher than the mezzo arias. Read Chapter 2 for information about voice types and how to determine yours. If you love classical music, then art songs (classical songs not from an opera) are a great option for working on technique. Find art songs in the song lists in Appendix A. For pop, folk, country, and other styles of singing, see Chapter 14 for more information about singing different musical styles.
无论您是在表亲的婚礼上、家庭聚会上、试镜上、教堂里唱歌,还是在当地酒吧的卡拉 OK 之夜唱歌,您都想强调自己独特的歌唱天赋。
You want to emphasize your particular singing talents whether you sing at your cousin’s wedding, at a family gathering, for an audition, in church, or as part of karaoke night at a local pub.
以下列表重点介绍了你可以强调的技能和优势。如果你的优势是
The following list highlights skills and strengths you can emphasize. If your strength is
当你最终知道自己想要什么时,你必须去商店购买。选择音乐可能是最难的。你可能在当地有音乐商店出售,但大多数人会在网上购买音乐。如果你想在决定购买之前先把乐谱拿在手里,可以在网上搜索你当地的音乐商店。在上车之前,可以打电话询问商店是否有声乐谱。许多商店的乐谱选择有限,但可以为你订购。另一个选择是在线购物并下载你想要的音乐的电子版。继续阅读以了解更多信息。
When you finally know what you want, you have to go shopping to get it. Choosing music may be the harder of the tasks. You may have a local store that sells music, but most people shop online for music. If you like to hold music in your hand before you make a decision to buy, search online for your local music store. Call the store to ask whether they carry vocal music before you hop in the car. Many stores carry a limited selection of sheet music in the store but can order something for you. Another option is to shop online and download a digital copy of your music. Keep reading for more information.
许多音乐发行商都有在线网站,可以购买单曲,也就是乐谱。找到你想要的歌曲后,请寻找标有“钢琴和人声”或“钢琴、人声和吉他”的版本。该版本会包含人声的旋律和歌词、吉他手的和弦以及钢琴手的钢琴部分。由于版权限制,大多数网站只允许你查看歌曲的第一页。Hal Leonard 的网站允许你查看整首歌曲,因为他们拥有网站上所有音乐的版权。以下是一些值得考虑的地方:
Many music distributors have online sites for purchasing single songs called sheet music. When you find your song, look for the version that says piano and voice, or piano, voice, and guitar. That version will have the melody line and lyrics for the voice, chords for the guitar player, and the piano part written out for the pianist. Most sites let you see only the first page of the song due to copyright restrictions. Hal Leonard’s site lets you see the entire song because they own the copyright to the music on their site. Here are some places to consider:
www.sheetmusicdirect.com。单曲有很多版本,称为乐谱。选择歌曲后,您可以选择所需的调(注册帐户后,您可以查看歌曲的所有页面,以确定它是否适合您),然后下载乐谱副本。点击播放按钮即可收听歌曲的基本电子版本,不是单曲,而是基本伴奏。如果您不确定选择哪个调,聆听播放的音乐可以让您跟唱,并找出哪个调适合您的声音。您还可以购买用于练习、声乐课或……的曲目。公开演唱。音乐风格从流行摇滚到迪士尼风格,应有尽有。有关曲目信息,请参阅第20章。www.sheetmusicdirect.com. There are numerous versions of single songs called sheet music. After you choose the song, you can select the key you want (you can see all the pages of the song to determine if it’s the right key for you if you sign up for an account) and then download a copy of the music. Hit the play button to hear a basic electronic version of the song, not a track but the basic accompaniment. If you aren’t sure what key to choose, hearing the music played for you allows you to sing along and figure out which key is right for your voice. You can also purchase tracks that you can use for practicing, taking to your voice lesson, or singing in public. The style of music ranges from pop-rock to Disney. See Chapter 20 for information on tracks.www.musicnotes.com允许您查看音乐的第一页并使用播放器收听第一页。www.musicnotes.com allows you to see the first page of the music and use the player to hear the first page.www.sheetmusicnow.com,www.sheetmusicplus.comwww.sheetmusicnow.com, which lets you view a sample of a classical song before purchasing and www.sheetmusicplus.com, which has compilation books you can order or individual sheet music that you can download.在网上购物时,您可以选择购买乐谱(单曲)或合辑,后者通常包含一系列主题歌曲,例如电影主题曲、情歌、某个年代的流行金曲或某位特定艺术家的歌曲。您需要决定是多付一点钱购买多几首歌曲,还是只花较少的钱购买一首与您心仪的调性完全一致的歌曲。
As you shop online, you have the choice to buy sheet music (single song) or a compilation book, which contains a collection of songs that usually follow a theme, such as movie theme songs, love songs, pop hits of a certain decade, or a particular artist’s songs. You have to decide whether you want to pay a little extra to have a few more songs or just get the one song in the exact key you want for a smaller fee.
咏叹调和大多数音乐剧歌曲传统上都以原调印制。较老的音乐剧歌曲,即所谓的标准歌曲,通常以不同的调印制,可能并非原调。如果你找到一本歌集,上面可能还会标明“高音”或“低音”,或者标明特定声部类型,例如女高音或男中音。如果歌集名称是“简易钢琴曲”,请检查调号,因为这些歌曲的调号容易演奏,但对歌手来说并不一定容易。
Arias and most musical theater songs are traditionally printed in the original key. Older musical theater songs called standards are often printed in various keys and may not be the original key. If you find a book of songs, it may also say High Voice or Low Voice or for specific voice types like soprano or baritone. If the book title says Easy Piano, check the key since those songs are in easy keys to play but not necessarily easy keys for the singer.
有些网站会列出合辑中歌曲的调和音域,但大多数网站不会。您可以浏览在线歌曲集目录,www.halleonard.com找到列出调和音域的歌曲集,以及哪些歌曲集有电子版。
Some websites list the key and range of the songs in a compilation book but most don’t. You can browse the song book catalog online at www.halleonard.com to find the ones that list the key and range and which books are also available in digital editions.
图书馆是寻找乐谱的好地方。图书馆是免费的,你可以借阅乐谱,按照自己的节奏在家练习。如果发现调不对,可以省下一些钱,避免一些麻烦。如果你的读谱能力还很差,甚至可以把乐谱拿给钢琴师弹奏。如果你觉得喜欢这首歌,可以记下歌本的名称、出版商和版本。有些歌本会再版,还会添加歌曲,所以在网上找到歌本时,一定要查看歌本的内容,确保里面有你想要的歌曲。
The library is a great place to search for music. It’s free, and you can check out the book to try the song at home at your own pace. If you find that it’s not in the right key, you save yourself a few dollars and some frustration. You can even take the music to a pianist to play through it for you if your music-reading skills are still pretty new. If you decide that you like the song, jot down the name of the songbook, along with the name of the publisher and edition of that publication. Some books are republished and songs are added so check the contents of the compilation book to make sure it has the songs you want when you find it online.
第十七章
Chapter 17
本章内容
IN THIS CHAPTER
将歌词与旋律分离
Separating the words from the melody
理解纸上写的音乐
Figuring out the music as it’s written on the page
寻找运用发声技巧的方法
Finding ways to use your vocal technique
知道何时呼吸
Knowing when to take a breath
掌握一首新歌并非易事。在本章中,你将学习如何逐步分解歌曲并学习。我甚至会和你一起练习一首歌,让你亲自动手练习。读完本章后,你就能独立掌握一首新歌了。
Mastering a new song is tough. In this chapter, you discover how to take the song apart and study it step by step. I even work through a song with you to give you hands-on practice. After reading this chapter, you’ll be ready to master a new song by yourself.
听到一首新歌真是太开心了。新的旋律和歌词让人忍不住想放声高歌。
Getting a new song is so much fun. The new melody and new words make you want to just burst out singing.
许多歌手试图在一次练习中掌握一首新歌的所有细节。但要学会一首不熟悉的歌曲,同时掌握歌词、节奏和旋律,可能需要不止一次练习。如果你花些时间仔细浏览歌曲,将其分解成易于理解的部分,然后一点一点地掌握,这个过程会快得多。
Many singers try to conquer all the details of a brand-new song in one session. But picking up an unfamiliar song and getting the words, rhythms, and melody right at the same time may take more than one session. The process goes much quicker if you take some time to scan the song, break it down into manageable pieces, and then conquer it one piece at a time.
通过扫描,我的意思是检查这些音乐细节:
By scanning, I mean checking these musical details:
如果你给自己时间,逐一吸收这些细节,就能比硬塞进脑子里更快地掌握这首歌。继续阅读,了解如何在你的探索过程中逐步掌握。要按照作曲家的意图演唱一首歌曲,你需要理解这些乐谱。想了解更多关于读谱的帮助,请参阅迈克尔·皮尔霍夫和霍莉·戴合著的最新版《音乐理论入门》 (约翰·威利父子公司出版)。
If you give yourself time to absorb these details one at a time, you can master the song much more quickly than if you try to cram it all into your head. Read on to find out how to create steps in your discovery process. To sing a song as the composer intended, you need to understand these notations. See the latest edition of Music Theory For Dummies by Michael Pilhofer and Holly Day (John Wiley & Sons, Inc.) for more help with reading musical notation.
按照图 17-1中的歌曲阅读以下部分。
Follow the song in Figure 17-1 as you read through the following sections.
把歌词看作一段独白或一个故事。把歌词,包括标点符号,写下或打出来,这样你就可以脱离旋律,审视歌词,并了解歌词的整体结构。如果歌曲中有你不认识的词,就查一下。找出歌曲中所有词的含义和发音。注意标点符号,因为你可以在歌曲的标点符号处呼吸。(请参阅本章后面的“注意标点符号”部分。)
Look at the lyrics as a monologue or a story. Write or type the words, including the punctuation, so you can examine the lyrics apart from the melody and take a look at the big picture. If the song has words that you don’t know, look them up. Find the meaning and the pronunciation of all the words in your song. Notice the punctuation, because you can breathe at the punctuation marks in a song. (See the section, “Paying attention to punctuation,” later in this chapter.)
大声朗读歌词,这样你就能听出单词的语调。读歌词时,寻找关键词——也就是你在日常、自然的口语中强调的词。关键词包括名词、动词、形容词和副词。句子中其他的词也很重要,但通常不会被强调。继续大声朗读,直到听起来像对话一样。
Read the lyrics out loud so you can hear the inflection of the words. As you read the lyrics, look for the operative words — the words that you emphasize in normal, natural, everyday speech. Operative words are nouns, verbs, adjectives, and adverbs. The rest of the words in the sentence are important but aren’t usually emphasized. Keep reading the text aloud until it sounds conversational.
© John Wiley & Sons, Inc.
© John Wiley & Sons, Inc.
图 17-1:示例歌曲——“简单的事情”。
FIGURE 17-1: Sample song — “Simple Things.”
有时,你第一次读诗歌或歌词时,会觉得它们不太明白。读得越多,就越能理解文字背后的含义。当你真正掌握了这些词句,就把它们背下来。你可能会发现,记住这些词句只需要很短的时间。
Sometimes when you read poetry or lyrics for the first time, they don’t make complete sense. The more you read them, the more you’re able to understand the meaning behind the words. When you really have a grasp on the words, memorize them. You may find that it takes only a short time to memorize the words.
即使你读谱不太好,也能用拍子打出节奏。只需看着乐谱上的节奏,试着打出来,不用担心歌词或速度。第一次尝试可能会比较难,但练习一段时间后,你就会习惯某些节奏模式,并很快掌握它们。
Even if you don’t read music well, you can tap out the rhythms. Just look at the rhythms on the page and try to tap them out without worrying about words or speed. The first time you try, it may be difficult, but after some practice, you get accustomed to certain rhythm patterns and can quickly master them.
幸运的是,在示例歌曲“Simple Things”(参见图17-1 )中,只需要练习几个节奏。这首歌的节奏很好地诠释了我所说的“初学者歌曲”。(第16章有更多关于初学者、中级和高级歌曲的信息。)我选择了一首初学者歌曲供你探索,这样你就能完全自信地掌握节奏。
Lucky for you, only a few rhythms need to be worked out in the sample song “Simple Things” (refer to Figure 17-1). The rhythm in this song is a great example of what I mean by a beginner song. (Chapter 16 has more information about beginner, intermediate, and advanced songs.) I chose a beginner song for you to explore so you can feel totally confident about figuring out rhythms.
要获取有关阅读节奏的更多帮助,请阅读布莱克·尼利 (Blake Neely) 编写的最新版《钢琴入门》第 2 版 (John Wiley & Sons, Inc.)。
For more help on reading rhythms, pick up a copy of the most recent edition of Piano For Dummies, 2nd Edition, by Blake Neely (John Wiley & Sons, Inc.).
要弄清一首歌的节奏,你需要懂一点读谱的知识。在歌曲的开头,你会发现一些看起来像分数的数字。这个分数,或者说拍号,告诉歌手如何在每小节线之间划分节拍。当你看着图 17-1中的音乐时,请注意歌曲开头“simple”和“feeling”这两个词之间的一条垂直线。这条线叫做小节线。在这个小节,或者说小节里,拍号表示有四个节拍:
To figure out a song’s rhythms, you have to know a little about reading music. At the very beginning of a song, you can find some numbers that look like a fraction. This fraction, or time signature, tells the singer how to divide the beats between each bar line. As you look at the music in Figure 17-1, notice the single vertical line between the words simple and feeling at the beginning of the song. That line is called a bar line. In that bar, or measure, the time signature indicates that you find four beats:
因为上面的数字是四,所以每小节有四拍。下面的音符也是四,也就是说四分音符占一拍。
Because the top number is four, each measure has four beats. The bottom note is also four, which means the quarter note gets one beat.
在图17-1中的歌曲《Simple Things》中,你会发现三种节奏:八分音符、四分音符和二分音符。音符的时值与数学类似。
In “Simple Things,” the song in Figure 17-1, you find three kinds of rhythms: eighth notes, quarter notes, and half notes. The duration of notes is similar to math.
《Simple Things》中的前三个音符是四分音符,后面跟着八分音符。由于四分音符占一拍,所以每个八分音符占半拍。当你看到一个音符旁边有一个附点时,你要保持该音符的整个时值加上原时值的一半。例如,在“are ”处,旁边有一个附点的四分音符表示你要保持该音符一拍加上另一拍的一半,总共一拍半。
The first three notes in “Simple Things” are a quarter note followed by eighth notes, and because quarter notes get one beat, eighth notes get half a beat each. When you see a note with a dot next to it, you hold the note for the full duration of the note plus half of the original value. For example, the quarter note with the dot next to it at the word are indicates that you hold the note for one beat plus another half, for a total of one and a half beats.
只唱旋律,不唱歌词。这听起来可能有点奇怪,但唱旋律时不必担心歌词是否正确,有助于你在脑海中巩固旋律,并专注于你的呼吸技巧(参见第4章)、退格和连奏(参见第6章)。记住旋律后再添加歌词。
Sing the melody without the words. This may seem like strange advice, but singing the melody without having to worry about whether you’re getting the words right helps you fix the melody in your mind and also focus on your breathing technique (see Chapter 4), back space, and legato line (see Chapter 6 for both). Add the words after you have the melody down.
你准备好最后一轮了吗?是时候把所有拼图碎片拼在一起了。因为你已经掌握了歌词、节奏和旋律,所以跟着旋律唱歌词简直易如反掌。
Are you ready for the last round? It’s time to put all the puzzle pieces together. Because you already know the words, rhythm, and melody, singing the words with the melody is a breeze.
注意音乐引子的长度,这样你独自演唱时就能做好准备。如果你不确定在引子部分该做什么,可以参考第18章,了解一些关于表演的技巧。
Notice how long the musical introduction lasts so that you’re prepared when you sing by yourself. If you’re not sure what to do during this introduction, check out Chapter 18 for some ideas on acting.
同样的步骤也能让你发现新歌。找到一首新歌时,慢慢来,把所有步骤都记下来。每听一首新歌,你的速度就会越来越快。很快,你就能很快学会一首歌了。尽情跟着唱吧。
This same step-by-step process can lead you to great discoveries of new songs. Take your time when you find a new song and get all the steps down. With each new song, you get faster and faster. Pretty soon, you can get a song down in no time. Have fun singing along.
当你开始创作一首新歌时,你首先想做的可能就是反复唱。这没问题,只要你花点时间练习一下你的演唱技巧即可。你可以跟着在线曲目上的练习一起唱,这有助于提高你的演唱技巧,然后你就可以把这些技巧运用到歌曲中。通过分解你的歌曲创作计划,你可以同时练习技巧和歌曲本身。
When you begin a new song, the first thing you probably want to do is sing it over and over. That’s fine, as long as you take some time to apply some work to your singing technique. You can sing along with the exercises on the online tracks, which helps you advance your singing technique, and then you can apply that technical skill to songs. By breaking down your game plan for a song, you can work on technique and a song at the same time.
在线曲目练习中的单元音是确保你掌握如何发出不同元音的好方法。当你掌握了每个元音的发音(参见第8章)后,你就可以把同样的练习运用到你的歌曲中。花时间专注于你在每个单词中发出的元音,有助于你在每次练习中提高元音演唱的技巧。
Working on single vowels in the exercises on the online tracks is a great way to make sure that you know how to make distinct vowel sounds. When you know the sounds of each vowel (see Chapter 8), you can apply the same work to your song. Taking the time to focus on which vowel sounds you make in each word helps you improve your technique in singing vowels with each practice.
当你探索一首新歌的旋律时,用单个元音来唱,找到连奏(流畅连贯)的旋律线,并练习在长乐句中保持呼吸的流畅。你可以在用单个元音跟着在线曲目一起唱《Simple Things》(参见图17-1)的旋律时运用这个想法。请参阅本章前面的“唱出旋律(无歌词)”,找到合适的跟唱曲目。
As you explore the melody of a new song, sing it on a single vowel to find a legato (smooth and connected) line and work on your breath moving smoothly through long phrases. You can apply this idea as you sing along to the online tracks with the melody of “Simple Things” (refer to Figure 17-1) on a single vowel. See “Singing the melody (without the words),” earlier in this chapter, to find the correct track to sing along with.
你也可以用一连串元音来唱这首歌。歌曲中的元音流是指歌词中的元音减去辅音。当你能成功地用一连串元音发出连续的声音时,就把这串元音运用到旋律中:直接唱完这首歌,每个元音之间不要停顿。这个练习能帮助你真正倾听每个元音,使其清晰可辨。再加入辅音,就能让你发出那些特定的元音,然后是清晰的辅音。
You can also sing the song on a stream of vowels. The stream of vowels in a song is the vowel sounds in the words minus the consonant sounds. When you can successfully speak through the vowels in one continuous stream of sound, apply that stream of vowels to the melody: Sing straight through the song without pausing between each vowel sound. This exercise helps you really listen to each vowel to make it distinct. Adding the consonants back in allows you to make those specific vowel sounds followed by very clear consonant sounds.
另一个提高技巧的好方法是倒着唱乐句。不,我不是让你倒着唱这首歌——只需从你觉得难的最后一个乐句开始,随着你掌握了难的乐句,逐渐添加前面的乐句。
Another good way to improve your technique is to work the phrases backward. No, I’m not telling you to sing the song backward — just work from the last phrase you find difficult and gradually add the preceding phrases as you master the hard one.
唱完一首歌的最后几个小节,直到你的乐句清晰为止。当你能轻松地做到这一点时,再用前面的几个小节再编一个组。想象一下你的歌词是:“吵闹的母牛惊醒了母猪。猎犬的叫声响彻四方。”
Sing the last few measures of a song until your phrasing is solid. When you can do that easily, make another grouping with the preceding few measures. So imagine that your text is, “The loud cows aroused the sows. The sound of the hounds resounded all around.”
现在,乐句和气息的流动可能更加流畅了。你可以将同样的想法应用到“简单的事情”(再次参考图17-1)。通过练习最后几个单词中的一些乐句,你可以逐渐练习呼吸控制,以便完成整个乐句。在“简单的事情”中,你可以从“我会在歌曲中庆祝”开始练习乐句“这些是我会在歌曲中庆祝的简单的事情”。当你可以成功唱出这个乐句时,回去添加“简单的事情”。当大部分乐句都易于管理时,回去唱完整个乐句“这些是我会在歌曲中庆祝的简单的事情”,看看你是否能分辨出你的呼吸控制的差异。
The phrasing and breath flow likely are more polished now. You can apply this same idea to “Simple Things” (again refer to Figure 17-1). By working some of the phrases from the last few words, you gradually practice your breath control so you can make it through the entire phrase. In “Simple Things,” you can work the phrase “These are the simple things that I would celebrate in song” by starting at “I would celebrate in song.” When you can successfully sing that phrase, go back and add “simple things.” When that much of the phrase is easy to manage, go back and sing the entire phrase, “These are the simple things I would celebrate in song,” and see whether you can tell the difference in your breath control.
你可能已经意识到唱歌时必须注意呼吸。第四章讨论了呼吸的协调。当你在新歌中加入呼吸技巧时,你必须弄清楚如何协调呼吸与音乐,使呼吸更有目的性。呼吸的时机或速度,以及在歌曲中呼吸的位置和时间都很重要。本节将告诉你如何以及何时在新歌中进行有目的的呼吸。
You probably already figured out that you have to pay attention to your breathing when you sing. Chapter 4 discusses breath coordination. When you add your breathing skills to a new song, you have to figure out how to coordinate the breath with the music so the breath is purposeful. The timing or speed of the breath and where and when you breathe in a song matter. This section tells you how and when to take a purposeful breath in your new song.
懂得唱歌时的呼吸是一项很棒的技能。在歌曲中将呼吸提升到一个新的高度,意味着在唱歌时带着想要表达的意思去呼吸。对于你唱的每个乐句,你需要计划完成该乐句或想法所需的呼吸量。这个概念听起来很大,但它正是你每天在对话中所做的。当你在对话中思考接下来要说什么时,你会吸气,然后表达这些想法。
Knowing how to breathe when you sing is a great skill. Taking your breathing to the next level in a song means breathing with the intent to say something when you sing. For each phrase that you sing, you need to plan the amount of breath that you need to complete that phrase or thought. That concept sounds like a big one, but it’s what you do every day in your conversations. As you’re deciding what to say next in a conversation, you take in air and then express those thoughts.
试着深吸一口气,说:“我有个坏消息。”你的呼吸可能很缓慢,很谨慎,因为你知道接下来会有不愉快的事情发生。深吸一口气,说:“我中了彩票的头奖。”哇!这呼吸方式和你讲坏消息时的呼吸方式完全不同。唱歌时,你需要清楚地知道自己想表达什么,这样才能在每一句歌词中都用合适的呼吸来表达特定的想法。
Try taking a breath and saying, “I have some bad news.” Your breath was probably slow and deliberate because you knew something unpleasant was about to follow. Take a breath and say, “I won the entire jackpot in the lottery.” Wow! That breath is certainly different than your bad-news rendition. When you sing songs, you want to know clearly what you’re trying to say so that you take the appropriate breath for each line and express a specific thought.
知道在哪里呼吸也很有帮助。在歌曲中,你可以在以下位置呼吸:
Knowing where to breathe is also helpful. In a song, you can breathe in the following locations:
标记你打算呼吸的位置,可以让你有机会尝试呼吸,看看它是否适合你。这个呼吸的位置可能看起来很合理,但当你尝试呼吸时,你可能会感到不自信。只需选择另一个位置,然后再试一次。你练习唱歌和规划呼吸的次数越多,你就越能找到方法。
Marking the places where you intend to breathe gives you an opportunity to try that breath and see whether it works for you. The place to breathe may seem logical, but then when you try the breath, you may not feel confident. Just choose another place and try again. The more you practice singing through songs and plotting out the breaths, the better you get at figuring it out.
参考图17-1,再次通读《Simple Things》,并注意标点符号。这首歌有很多逗号,所以你可以在很多地方换气。
Refer to Figure 17-1 to read through “Simple Things” again and notice the punctuation. You can breathe in a lot of places because the song has quite a few commas.
歌曲中的标点符号会告诉你歌曲的核心思想在哪里。与书面和口头文本一样,句号表示完整的思想,逗号则表示列表和辅助短语。标点符号代表着喘息的机会,因此歌曲的标点符号可以帮助你进行措辞和诠释。
The punctuation in a song tells you where the big thoughts are. As with written and spoken text, periods indicate complete thoughts and commas point to lists and auxiliary phrases. Punctuation indicates an opportunity to take a breath, so a song’s punctuation can help you with phrasing and interpretation.
歌曲中的一连串问题与一连串逗号给你提供的任务不同。在你的日常讲话中,当你用英语提问时,你的语调通常会上升,而当你陈述时,语调会下降。在唱一首带有一连串逗号的歌曲时,你想要反映出那种持续的想法。你可以在说话时通过在句子中间吸一口气来练习。注意你的语调是如何保持上升的。当你唱歌时也会有同样的想法;你语调的下降告诉听众你正在继续同样的思路。相反,句号需要一种终结感。说以下两句话:“不要那样做。”和“你做了什么?”注意当你读问题时语调的变化。这种语调的差异可以帮助听众知道你在唱歌时刚刚发表了一个陈述或提出了一个问题。
A series of questions in a song provides you with a different task than a series of commas. In your everyday speech, the inflection of your tone of voice usually goes up when you ask a question and goes down when you make a statement in English. In singing a song that has a list with a series of commas, you want to reflect that continuing thought. You can practice this by taking a breath in the middle of a sentence when you’re speaking. Notice how the inflection of your voice stays up. That same idea happens when you sing; the inflection of your voice tells the listener that you’re continuing on the same train of thought. In contrast, a period needs a sense of finality. Say the following two sentences: “Don’t do that.” and “You did what?” Notice the change in the tone of your voice when you read the question. This difference of inflection helps the listener know that you’ve just made a statement or asked a question while singing.
在一连串逗号后换气需要一些计划。你可以在每个逗号后换气,但也可以不换气。你可以稍作停顿,就像说话时在句子中间停顿但不换气一样。一连串疑问句也类似:在需要换气的地方换气,在不需要换气的地方稍作停顿。
Breathing in a series of commas takes a little planning. You can breathe after every comma, but you may not need to. You can take a slight pause, just like you do in speaking when you pause in the middle of a sentence but don’t take a breath. A series of questions is similar: Breathe where you need to, and use a slight pause in places where you don’t need a breath.
如果您正在唱一首节奏快、歌词流畅的歌曲,您必须确切地知道如何快速吸气,以使下一句歌词清晰地表达出来。
If you’re singing an up-tempo song with quick-moving words, you have to know exactly how to get the breath in quickly to make the next line come out clearly.
记住,下一次呼吸的呼气必须快速进行。打开身体,让空气快速吸入,然后缓慢呼气。快速打开喉咙可以防止喘气。喘气会让你无法快速吸气,感觉更像是一场挣扎。
Remember that the release for the next breath has to happen quickly. Open your body to allow the breath to drop in quickly and exhale slowly. Opening the throat quickly prevents gasping. Gasping doesn’t allow you to get the air in as fast, and it feels more like a struggle.
看看并听听你的音乐引子,或者说前奏——歌词出现之前的部分。在唱出第一个音符之前,你需要做好准备——你需要控制好呼吸的节奏。有时候,要控制好呼吸节奏,以便在第一个乐句开始时有足够的气息,这很棘手。
Look at and listen to your musical introduction, or prelude — the part before the lyrics come in. Before you sing that first note, you need to be ready — you need to time your breath. Sometimes timing your breath just right so you can begin the first phrase with enough air is tricky.
歌曲的每个部分都必须有独特的感觉或音色。为了在不同部分传达不同的音色,你需要改变思路来创造音色的变化。在图 17-1的“简单的事情”中,当你开始第二节时,你有机会改变你的想法。浏览你的歌曲并确定它有多少个部分。你知道这是一个新的部分,因为以下情况之一发生了:钢琴间奏(声乐部分之间的钢琴独奏部分)通常会引出一个新的部分,音乐发生变化并添加不同的节奏或移动到新的调,或者歌词发生变化并出现新的主题。
Each section of a song must have a distinct feel or tone. To convey different tones in different sections, you need to make a change of thought to create a change of tone. In “Simple Things” in Figure 17-1, you have an opportunity to change your thought as you begin the second verse. Look through your song and determine how many sections it has. You know it’s a new section because one of these things happens: A piano interlude (a solo section for the piano in between the vocal section) often leads to a new section, the music changes and adds different rhythms or moves to a new key, or the text changes and a new topic arises.
歌曲的形式会告诉您可以找到多少个部分。
The form of a song tells you how many sections you can expect to find.
如果某个部分重复,推测一下作曲家或作词家重复这些词句的原因。是什么原因迫使你重复同样的词句?探究这些原因或许能帮助你发现如何通过改变思维来改变你的语调。重复的部分,你第二次演唱时需要与第一次有所不同。(如果重复了第三次甚至第四次,每次演唱也需要与其他部分有所区别。)
If a section repeats, speculate about what made the composer or lyricist repeat those words. What reason necessitates saying the same words again? Exploring those reasons may help you discover how to create changes in your tone by changing what you’re thinking. You need to sing a repeated part differently the second time than you did the first time. (And if it repeats a third or even fourth time, each repetition needs to be distinct from the others.)
找到一首歌曲的最少部分数可以告诉你最少的变化次数。
Finding the minimum number of sections to a song tells you the minimum number of changes.
当你开始创作新歌时,如何创作出适合自己的编曲?如何让这首歌成为你的专属?你可以先听听其他编曲,看看每位歌手在编曲时都使用了哪些元素。如果你听听猫王埃尔维斯·普雷斯利演唱的《猎犬》,你会发现纸上的音乐与录音中听到的声音相比可能显得平淡无奇。猫王用他的声音创作了一首充满乐趣的歌曲。你可以运用各种音乐元素的变化,例如力度(音量)或节奏(速度),或者改变你的音色或发音。
When you start working on your new song, how do you create the arrangement that works for you? How do you make the song yours? You can start by listening to other arrangements to see and hear the elements each artist used to make the arrangement their own. If you look at the music for “Hound Dog” as sung by Elvis Presley, the music on the page may look bland compared to the sounds that you hear on the recording. Elvis used a variety of sounds with his voice to create a fun song. You can use variations in musical elements, such as dynamics (volume) or tempo (speed), or you can change the timbre of your voice or vary the articulation.
你应该把歌曲想象成一段音乐和歌词的旅程。如果这是一段旅程,你希望这段旅程中有所变化和变奏。如果每次都重复同样的歌词,或许会很有趣,但对听众来说,这并不是一段旅程。音乐家们谈论歌曲中的“hook”(钩子)。“ hook”是反复出现且令人难忘的部分,它能让听众着迷。当你在寻找合适的歌曲进行编曲和创作时,请记住,“hook”可以是重复的节奏、旋律或歌词。你需要一个“hook”,也需要一个故事来讲述。创作各种有趣的声音,让你的听众在演唱这首歌的几分钟里一直听下去。
You want to think of the song as a journey of music and lyrics. If it’s a journey, you want changes and variations in that journey. If you repeat the same lyrics exactly the same each time, it may be fun, but it’s not a journey for the listener. Musicians talk about the hook in the song. The hook is the recurring and memorable part that gets the listener hooked. When you’re searching for just the right song to arrange and make your own, remember that the hook can be the repeating rhythm, melody, or lyrics. You want a hook, but also a story to tell. Make a variety of fun sounds to keep your audience listening for the few minutes it takes to sing the song.
你可能看过像《美国偶像》或《美国好声音》这样的电视节目,这些节目要求歌手自编歌曲或演唱一首他们不熟悉的歌曲。因为有时你需要清唱,所以你需要知道如何在不依赖乐器的情况下让歌曲变得有趣。这些关于如何创作自己的歌曲以及如何探索创作自己编曲的建议,在你需要在短时间内掌握并演唱一首新歌时,可能会派上用场。提升你的演唱技巧,这样你才能自信地运用它。
You may have seen television shows such as American Idol or The Voice that ask singers to bring in their own arrangement of a song or to sing a song they don’t know. Because you sometimes have to sing a song a cappella, you want to know how to make it interesting without relying on the instruments. Using these suggestions on how to make the song your own, as well as what to explore to create your own arrangement, may come in handy when you’re put on the spot and have to master and perform a new song in a short period of time. Build your technical skill so you can confidently apply it.
KC & The Sunshine Band 录制的《Get Down Tonight》是一首非常适合跳舞的歌曲,但歌词重复太多,缺乏强烈的故事性。如果只有钢琴而没有其他乐器,这首歌听起来可能很枯燥。Robert Palmer 录制的《Simply Irresistible》和 The Chordettes 录制的《Lollipop》是另外两首例子,它们虽然有很棒的旋律,但故事性不足,或者缺少乐器伴奏效果不佳。这些歌曲很有趣,但不适合独自演唱,或者在没有伴奏乐队的编曲的情况下演唱。
“Get Down Tonight,” recorded by K.C. & The Sunshine Band, is a great song for dancing, but the lyrics repeat a lot and it doesn’t have a strong story. It’s also a song that may sound boring with just the piano and no other instruments. “Simply Irresistible,” as recorded by Robert Palmer, and “Lollipop,” as recorded by The Chordettes, are two more examples of songs that have a great hook but may not have great stories or work without the instruments. They’re fun songs, but not great choices to sing by yourself or without a major arrangement with your backup band.
另一方面,老鹰乐队录制的《亡命徒》(Desperado)故事性强,旋律简洁,非常适合钢琴独唱。康妮·弗朗西斯录制的《衣领上的口红》(Lipstick on Your Collar)、理查德·罗杰斯和洛伦兹·哈特创作的《蓝色月光》(Blue Moon)以及艾瑞莎·弗兰克林录制的《尊重》(Respect)也可以改编成钢琴伴奏,听起来很棒。这些歌曲故事性强,钢琴伴奏效果极佳,非常适合独唱。附录A中的歌单也包含一些适合独唱的优秀故事歌曲,适合本书读者的水平。
On the other hand, “Desperado,” as recorded by The Eagles, has a great story and simplicity that lends itself to a solo with piano. “Lipstick on Your Collar,” as recorded by Connie Francis; “Blue Moon,” written by Richard Rodgers and Lorenz Hart; and “Respect,” as recorded by Aretha Franklin can also be arranged so that you sound great singing with a piano. These examples are just a few of the songs that have a great story, sound good with a piano, and work well for a one-person performance. The song lists in Appendix A also contain some great story songs to sing as a solo and are appropriate levels for readers of this book.
你可以在类似网站上找到不同版本的歌曲www.sheetmusicdirect.com,或者尝试一些熟悉的歌曲,掌握创作自己歌曲的技巧。想一首你非常熟悉的歌曲。你可以用赞美诗《奇异恩典》或其他熟悉的曲调,例如《生日快乐》、《老麦克唐纳》,甚至可以用本章中的歌曲《简单的事情》。
You can find different versions of your song on sites like www.sheetmusicdirect.com or you can experiment with some familiar songs to get the hang of making a song your own. Think of a familiar song that you know very well. You can use the hymn “Amazing Grace” or familiar tunes such as “Happy Birthday,” “Old MacDonald,” or even the song in this chapter, “Simple Things.”
像平常一样唱完这首歌,注意旋律的衔接和流畅性。现在再唱一遍,并改变一下衔接方式。让辅音变得非常清脆、精准。当你这样衔接时,你很可能会受到启发,用歌声发出精准的声音,就像古典音乐一样。当你再次唱这首歌时,改变衔接方式,让辅音和元音发音正确,但不要太清脆和精准。这种轻松的衔接方式类似于你在收音机里听到的流行歌曲或其他当代歌曲。你可以根据自己想要表达的歌曲故事,选择最适合你演唱类型或歌曲的衔接方式。
Sing through the song as you normally do, noticing the articulation and flow of the melody. Now sing the song again and change the articulation. Make the consonants super crisp and really precise. When you articulate like this, you’re most likely inspired to make precise sounds with your singing voice, similar to classical music. When you sing the song again, change the articulation so that the consonants and vowels are correct but not so crisp and precise. This laidback articulation is similar to what happens in a pop song or other contemporary songs that you hear on the radio. You can choose the best articulation for the type or song you’re singing based on how you want to express the story of that song.
这次唱这首歌时,要大声唱。大声唱出来,歌曲的含义可能会改变。现在再唱一遍,但要轻声。第三次唱这首歌时,要改变力度,有些部分要大声唱,有些部分要轻声唱。音量要逐渐变化,这样歌曲才能达到高潮。
When you sing the song this time, sing it loudly. The meaning of the song may change when you sing it loudly. Now sing the song again, but softly. The third time you sing the song, vary the dynamics, singing some sections loudly and others softly. You want to gradually change the volume so your song builds toward the climax.
下一个要探索的元素是节奏。先慢慢唱完这首歌,然后再快速唱一遍。当你探索完快节奏和慢节奏之后,再慢慢改变歌曲的节奏。你可以先慢唱,然后逐渐加快;或者反过来——先快唱,然后逐渐放慢。你需要探索歌曲中哪些部分适合唱快,哪些部分适合唱慢。节奏的变化不必太剧烈——只要能保持歌曲的流畅即可。
The next element to explore is the tempo. Sing through the song slowly, and then sing through it at a fast tempo. When you’ve explored fast and slow, sing through the song and gradually change the tempo of the song. You can start slowly and gradually speed up, or vice versa — start fast and gradually slow it down. You want to explore which segments in the song make sense to sing faster and which sections make sense to sing slower. The changes in tempo don’t have to be drastic — just change them enough to keep the song evolving.
你可以利用第11章和第12章中关于声部和共鸣的信息来改变你的音色。你可以用头声为主的混合音演唱歌曲的第一个乐句,用胸声为主的混合音演唱第二个乐句,然后用腰带音演唱下一个乐句。这种音阶的推进在你的歌曲中可能会比较慢,但运用音域和共鸣的变化可以让你的歌曲呈现出丰富的声音。逐渐改变人声可以展现你的多才多艺,并在整首歌曲中营造出一种变化流畅的声音之旅。
You can change the timbre of your voice by using the information in Chapters 11 and 12 about the registers of the voice and resonance. You can sing the first phrase of your song in a head voice–dominated mix, the second phrase in a chest voice–dominated mix, and the next phrase using belt. That progression may happen more slowly in your song, but using variations in registration and resonance offers you a variety of sounds in your song. Gradually changing the vocal sounds shows off your versatility and provides a changing and flowing journey of sound throughout the song.
你可以选择轻声演唱,并使用头声或假声。如果加快节奏,可能需要用高音演唱该部分。要知道哪种声音效果最佳,请录下自己的演唱并回听。你可能需要尝试一段时间,并多次录音,才能真正找到适合新版本歌曲的声音。歌手经常告诉我,他们唱歌时转换音域感觉很奇怪。不知何故,他们认为他们应该在整首歌中都用同一个音域演唱。你在收音机里听到的歌手会转换音域,你也可以。除非是一段活泼的舞曲节奏需要你唱完整首歌,否则你的声音应该多样化。在第12章的练习中练习在音域之间转换,这样你就可以将这些转换融入到你的歌曲中。
You may choose to sing softly and use your head voice or falsetto. If you speed up the tempo, you may want to belt that section. To know which sounds work really well, record yourself singing and listen back. You may have to experiment for a while and record yourself several times before you really find the sounds that fit your new version of the song. Singers often tell me that it feels weird to change registers when they sing a song. Somehow they think that they’re supposed to sing in the same register throughout the song. The singers you hear on the radio shift registers, and so can you. Unless a spunky dance beat requires you to belt it out for the entire song, you’ll want variety in your sounds. Practice moving between registers in the exercises in Chapter 12 so you’re ready to incorporate those transitions into your song.
表演者在编曲歌曲时,通常会先演唱一遍,然后改变风格。他们会演唱一些熟悉的歌曲,但会将其改变成与平常听到的不同风格。例如,你可以精准清晰地演唱《奇异恩典》,也可以假装自己是 R&B 明星,并在演唱过程中加入大量的即兴重复乐段。你也可以添加大量的鼻音和前向共鸣,让它听起来像一首乡村歌曲。假装这首歌属于某种特定的风格,可以鼓励你使用那种风格歌曲中常见的声音。了解是什么让一首歌听起来像流行音乐或乡村音乐,就能让你在选择演唱的歌曲中运用这些元素。
When performers arrange a song, they often sing through the song and change the style. They sing familiar songs but change them to sound different from what you normally hear. For example, you can sing “Amazing Grace” precisely and clearly, or you can sing it and pretend that you’re an R&B star and add lots of riffs. You can also add a lot of twang and forward resonance and make it sound like a country song. Pretending that the song is from a specific style encourages you to use sounds that you typically hear in that type of song. Understanding what makes a song sound pop or country allows you then to use those elements in the song you choose to perform.
当你决定如何演唱歌曲时,请在乐谱上标注方向,以便伴奏者知道如何跟上你的节奏。你可以突出显示速度和力度标记,确保伴奏者能够看到;如果没有标注,请将它们写在钢琴声部内。速度标记通常位于人声线上方。为了确保伴奏者能够看到它们,请将它们写在钢琴声部下方两组五线谱之间的空隙中。
When you decide how you want to sing your song, mark your music with the directions so the accompanist knows how to follow you. You can highlight the tempo and dynamic markings to make sure that your accompanist sees them; if none are written in, write them within the piano part. You often see tempo markings above the vocal line. To make sure that your accompanist sees them, go ahead and write them in the space between the two sets of five lines down in the piano part.
如果你想改变歌曲的风格,你需要改变伴奏者演奏乐谱的方式。有些伴奏者在这方面很擅长,你可以直接让他们演奏一首乡村风格的曲子,即使乐谱上没有乡村风格的歌词。伴奏者只需改变和弦的演奏方式,或许还会根据你的演唱变化调整乐谱上的节奏。不经常演奏当代音乐的伴奏者可能擅长改变节奏和力度,但不太擅长创作出像流行歌曲一样的伴奏。问问他们是否愿意为你改变风格,或者带一份已经编排成这种风格的歌曲。
If you want to change the style of the song, you need to change how the accompanist plays what’s on the page. Some accompanists are great at this, and you can just ask them to play a piece in the style of a country song even if that’s not what’s written on the page. The accompanist simply changes the way the chords are played and perhaps changes the rhythm on the page to match your vocal changes. Accompanists who don’t play a lot of contemporary material may be really good at changing the tempo and dynamics, but not so good at making up an accompaniment that sounds like a pop song. Ask them if they’re comfortable changing the style for you or bring a copy of the song already arranged in that style.
当你聆听你最爱的歌手演唱的歌曲时,你会逐渐喜欢上他们演唱时的声音。当你探索一首新歌时,你会运用技巧来演唱旋律,但你也会运用自己的风格来创造歌曲中丰富的声音。以《Bridge Over Troubled Water》为例,你会发现许多艺术家都以不同的方式录制了这首歌:
When you listen to your favorite song by your favorite singer, you grow fond of the sounds that performer creates when they sing. When you’re exploring a new song, you use technique to sing the melody, but you use your sense of style to create the diverse sounds in the song. Using the song “Bridge Over Troubled Water” as an example, you can find numerous artists who have recorded the song in many different ways:
听听众多录制过这首歌的歌手的歌声,然后试着描述不同音乐风格之间的差异。如果你喜欢这首歌,不妨录下来自己演唱,看看能否创造出自己的风格。
Have some fun listening to the vast number of singers who recorded this song and then try to describe the differences between styles of music. If you like the song, record yourself singing it and see if you can create your own style.
第十八章
Chapter 18
本章内容
IN THIS CHAPTER
讲述一首歌的故事
Telling a song’s tale
识别歌曲背后的人物
Identifying the character behind the song
用适当的非语言方式推销你的歌曲
Selling your song with appropriate nonverbals
如果你回想一下在电视或剧院现场观看的表演,你可能会记得那些精彩的编舞、绝美的布景,或者一位歌手在评委和众多观众面前即兴演唱——那种活力四射的氛围。如果你必须站在舞台上,独自演唱一首歌曲,只有钢琴伴奏,那该怎么办?你来对地方了,本章将为你提供一些让你的独唱表演更上一层楼的技巧。
If you think about the performances you’ve seen on television or live in a theater, you likely remember the choreography, the great scenery, or a singer jamming to a tune before a panel of judges and a huge crowd — all the pizzazz. What if you have to stand onstage and sing a song by yourself with only the piano for company? You’ve come to the right chapter for some ideas on making your solo routine a stellar performance.
作为一名歌手,你最重要的任务就是在唱歌时表达自己的想法。站起来背诵歌词只是开始。将你的表演技巧运用到歌曲中,打造一场精彩的演出。让你的观众有理由关注你,聆听你的表演。
Your biggest job as a singer is to say something when you sing. Standing up and singing memorized words is just the beginning. Apply your acting skills to a song for a powerful performance. Give your audience a reason to look at you and listen to your performance.
每首写得好的歌曲都会带领听众踏上一段旅程,用歌词和音乐讲述一个故事。在本部分中,你将学习如何运用歌词来理解歌曲的故事,如何运用歌声来充满情感地诠释歌词,以及如何让音乐和歌词和谐地融为一体。
Every well-written song takes the listener on a journey that uses text and music to tell a story. In this section, you find out how to work with the text of your song to understand it as a story, how to work with your voice to portray that text with emotion, and how to get the music and text to work together.
写得好的歌曲能让你有机会与歌词和音乐建立联系。如果把歌词当成演讲或独白来理解,你可能会发现歌曲的含义并非你最初想象的那样。就像第一次读一首诗,你可能无法完全理解它的含义。第二次读的时候,你可能会发现一些新的点。你读歌词越多,就越能增强你的歌声和你嘴里说出的歌词之间的联系。
Well-written songs offer you an opportunity to create a partnership with the words and music. Working the text as a speech or monologue, you may find that the song doesn’t mean what you originally thought it did. Just as when reading a poem for the first time, you may not initially absorb all the meanings. The second time around, several new things may jump out at you. The more you read the text, the more you can enhance the relationship between your singing and the words coming out of your mouth.
玩弄不同的歌词能让你思考自己想要表达什么,以及如何更好地表达。当你朗读歌词时,要根据歌词的含义做出具体的选择,就像你说“我有一只猫”时那样。你具体的选择能让听众真正专注于你的故事,让他们听到歌词,而不仅仅是你美妙的声音。
Playing with the various words makes you think about what you’re trying to say and how best to say it. As you speak through the text of your song, make specific choices about what you think the text means, as you did when you said, “I had a cat.” Your specific choices give listeners an opportunity to really focus on your story so they hear the words, not just the glorious sounds of your voice.
强调重复的词语同样重要。当你的歌曲重复某些歌词时,你应该用不同的方式表达,仿佛每次都有新的含义。想出你歌曲中的一句歌词,并重复几遍。很可能你每次都用不同的方式强调它,试图表达你的观点。当你重复歌词时,你就有了另一个机会让听众理解你的意思。
Emphasizing repeated words is just as important. When your song repeats certain lyrics, you want to say them differently, as if each time they have a new meaning. Think of a line from your song and repeat it several times. Most likely, you emphasized it differently each time to try to get your point across. When you repeat the lyrics, you have another chance to get your audience to understand you.
在歌曲中,音乐可以表达人物和文本的含义。音乐是人声讲述故事的载体。当你聆听你的歌曲(钢琴师录制的钢琴部分或你演唱的录音)时,思考一下音乐是如何讲述故事的。通常,音乐与文本的结合可以增强文本的传达效果。
In songs, the music has something to say about the character and the text. The music is a vehicle for the voice to tell the story. As you listen to your song (the piano part recorded by your pianist or a recording of you singing the song), think about what the music has to say about the story. Often the setting of the text with the music enhances the delivery of the text.
例如,在《窈窕淑女》中的歌曲《Wouldn't It Be Loverly》中,伊丽莎·杜利特尔的歌词节奏与朗读者的速度一致。通过将歌词设置为正常的语速,音乐会让你听起来像是在用音乐讲述一个故事。在《音乐之人》中的歌曲《Ya Got Trouble》中,你只需听到伴奏的声音就能知道,哈罗德·希尔不会再唱起今天多么美好的早晨了。伴奏中短促、断断续续的声音告诉你,麻烦即将来临。
For example, in the song “Wouldn’t It Be Loverly” from My Fair Lady, Eliza Doolittle’s text moves at the same pace as a person speaking the text. By setting the text at a normal speaking pace, the music helps you sound as if you’re talking and telling a story with music. In the song “Ya Got Trouble,” from The Music Man, you know just by hearing the sound of the accompaniment that Harold Hill isn’t going to sing about what a beautiful morning it is. The short, detached sounds from the accompaniment tell you that trouble is brewing.
如果歌曲中有间奏,也就是你不唱歌时播放的一段音乐,你需要想办法处理这段时间。间奏可能会让人困惑。你究竟会做些什么来打发这段时间呢?你会在歌曲的间奏中思考一些具体的想法来支撑和延续剧情。潜台词可以把你从音乐的引子(前奏)一直带到歌曲的第一句歌词。
If the song has an interlude, a passage in the music when you’re not singing, you need to figure out how to handle that period of time. Interludes can be perplexing. What in the world do you do to kill that time? You think specific thoughts that support and continue the plot during musical interludes of a song. Subtext can take you from the musical introduction (prelude) right to the song’s first line.
歌曲中潜台词的例子可以是泰勒·斯威夫特录制的《Love Story》前奏(引子)中女孩的所思所想。在前奏中,她想着那个男孩,想着她想对他说些什么。也许她终于鼓起勇气告诉他她喜欢他,正在思考最好的表达方式。又或许,他正在收拾行李,因为他真的生她的气,而她在前奏中(潜台词)思考着该说些什么才能让他原谅她,让她留下来。
An example of subtext in a song could be what the girl is thinking during the prelude (introduction music) of Love Story, recorded by Taylor Swift. In the prelude, she’s thinking about the boy and what she’ll say to him. Maybe she’s finally gotten up enough nerve to tell him that she likes him, and she’s thinking about the best way to tell him. Or he may be packing his things because he’s really mad at her, and she’s thinking (subtext) during the prelude about what she can say to get him to forgive her and stay.
间奏可能非常简单,但你仍然想聆听音乐,让它成为你故事的一部分。把钢琴想象成你的场景伙伴。即使你独自在舞台上演唱,钢琴也会在音乐结构中给你一些反馈。你甚至不需要读乐谱就能理解。你只需要聆听音乐,并判断它是如何帮助讲述故事的。
The interlude may be really simple, but you still want to hear the music and let it be part of your story. Think of the piano as your scene partner. Even if you’re onstage alone singing a song, the piano is offering you some feedback within the structure of the music. You don’t even have to read music to figure it out. You just need to listen to the music and decide how it’s helping to tell the story.
你想让你的表演圆满成功,让观众感兴趣,所以你需要对你的歌曲进行一些“侦探”式的挖掘。仔细观察演唱这首歌的角色。每首歌都有一个角色和一个故事要讲述。有时这个角色和你很像,有时则截然不同。
You want to make your performance well rounded and interesting to the audience, so you need to do some detective work on your song. Take a close look into the character singing the song. Every song has a character and a story to tell. Sometimes the character is just like you and sometimes it’s someone very different.
融入角色意味着暂时融入故事中角色的生活和境遇。在这种情况下,故事通过歌词呈现。如果歌词来自歌剧或音乐剧,你的歌曲和角色将拥有完整的生命力供你探索。广播中的歌曲通常并非出自电视剧,所以你可以决定故事的情节。
Getting into character means temporarily inhabiting the life and circumstances of a character for a story. In this case, the story is presented in the lyrics of the song. If the lyrics are from an opera or musical, your song and your character have an entire life for you to explore. Songs from the radio usually aren’t from a show, so you get to decide the circumstances.
回答有关演唱您歌曲的角色的基本问题会引导您了解一些具体细节,关于当您独自一人站在舞台上时如何刻画该角色。
Answering fundamental questions about the character singing your song leads you to some specific details about how to portray that character when you’re alone onstage.
你想揭示歌词中给出的事实。一些需要回答的基本问题包括
You want to uncover the facts given in the lyrics. Some basic questions to answer include
了解角色的背景能让你挖掘角色的基本信息。创作歌曲时,给自己一些时间消化歌词。先了解整体情况。总结细节,然后然后再转向更小的细节。你需要了解角色的内心和外在生活。
Knowing your character’s background gets you to dig for the basic information available about your character. Allow yourself some time to digest the lyrics as you’re working on the song. See the big picture first. Summarize the details and then move on to the smaller details. You want to know about both the inner and outer lives of the character.
如果你了解角色的基本信息,就能知道这个人是和你相似还是截然相反。我个人喜欢扮演与自己性格截然相反的角色。还有什么比这更能过上秘密生活的方式呢?
If you know this basic information about your character, you know whether this person is similar to you or the exact opposite. Personally, I love playing characters who are opposite from my own personality. What better way to live a secret life?
唱歌是表达强烈而高亢情感的一种方式。歌曲传达的情感如此强烈,以至于角色无法仅仅用言语表达,他们必须用歌声来表达。如果你在日常生活中不会时不时地想唱歌,那就继续阅读,探索如何获得那种强烈而高亢的意识,让你情不自禁地想要放声歌唱。
Singing is a way of expressing huge, heightened emotions. A song conveys feelings so big that the character can’t just say it; they have to sing about it. Just in case you don’t rush into song every few minutes in your everyday life, keep reading to discover how you can get to that huge, heightened sense of awareness that makes you just want to burst out singing.
在唱歌之前,你需要了解一些事情。你需要知道这首歌之前发生了什么,才能激励你的角色唱歌并说出歌词。你的角色为什么唱歌?你的角色打算如何克服障碍?在这一部分,你会从一些熟悉的歌曲中找到答案,这样你就可以填补关于你自己歌曲的空白。有些歌曲并非出自音乐剧或歌剧。对于这些歌曲,你需要对歌词进行充分的理解,让你的想象力引导你找到正确的答案。
Before singing a song, you want to know a few things. You want to know what happened just before this song to motivate your character to sing and say the words. Why does your character sing, and how does your character intend to overcome any obstacles? In this section, you uncover the answers in some familiar songs so you can fill in the blanks about your own song. Some songs aren’t from a musical or opera. For these songs, you need to do enough work with the text that your imagination leads you to the right answers.
某些事件通常会促使角色唱歌。也许角色需要克服某个问题,陷入困境并想要改变,或者想要帮助他人。角色需要某种困境,无论好坏,才能唱歌。角色遇到的障碍也很重要。困境或障碍可能是单恋,可能是强烈到不得不向全世界宣告的幸福,也可能是一段不知如何结束的糟糕感情。
Some event usually motivates the character to sing a song. Maybe the character has a problem to overcome, is in a predicament they want to change, or they want to help someone. The character needs some sort of predicament, good or bad, to sing. The obstacles the character encounters also are pretty important. The predicament or obstacle can be unrequited love, happiness so intense you have to tell the world, or a bad relationship that you don’t know how to end.
例如,《俄克拉荷马! 》里的埃勒阿姨唱着《农夫和牛仔应该成为朋友》,因为她希望男人们停止争斗,和睦相处。在电影《绿野仙踪》中,狮子唱着《如果我是森林之王》,是因为他渴望勇气,厌倦了恐惧。另一首带有特定动机的歌曲是《退回寄件人》,你可能听过猫王埃尔维斯·普雷斯利唱这首歌。他唱这首歌的原因是,尽管他已经道歉,但他的信还是不断被退回,这让他心碎。
For example, Aunt Eller in Oklahoma! sings “The Farmer and the Cowman Should be Friends” because she wants the men to stop fighting and get along. In the movie The Wizard of Oz, the Lion is motivated to sing “If I Were The King of the Forest” because he wants courage, and he’s tired of being afraid. Another song with a specific motivation is “Return to Sender,” which you may have heard Elvis Presley sing. He’s motivated to sing the song because his letters keep coming back, even though he’s said he’s sorry, and it’s breaking his heart.
你需要规划一个行动,帮助你的角色得到他们想要的东西。行动听起来像是你必须在舞台上跳跃才能完成的事情,但事实并非如此。你可以静静地制定行动计划。在你决定为什么要这样做之后唱着这首歌,你制定了一个计划去实现目标并克服障碍。歌剧《卡门》中有一个咏叹调(歌剧歌曲)用来描述特定动作的例子。卡门被捕了,唐·何塞要把她带进监狱。她唱着咏叹调“塞吉迪亚”(Seguidilla)来诱惑唐·何塞释放她。她的行动计划是让他释放她,而她最终得逞了,因为她用自己的身体和声音诱惑了他。
You want to plan an action that helps your character get what they want. An action sounds like something that you have to leap around the stage to accomplish, but it’s not. You can stand still and have a plan of action. After you decide why you’re singing the song, you create a plan to get what you want and overcome the obstacle. An example of an aria (a song from an opera) that illustrates a specific action comes from the opera Carmen. Carmen is arrested, and Don José is supposed to take her to prison. She sings the aria “Seguidilla” to entice Don José into letting her go. Her plan of action is to get him to release her, and she gets her way because she seduces him with her body and voice.
如果你站着唱歌,没有布景、服装和搭档,你会在唱歌时想象并思考这些动作。卡莉·蕾·杰普森的《Call Me Maybe》就是一个有趣的歌曲动作例子。很明显,她想让他注意到她,所以她在视频里做了一些有趣的事情来吸引他的注意。思考所有这些动作(我正在做什么来得到我想要的东西)正是你在唱歌时想要做的。
If you’re standing and singing a song without the set, costume, and a scene partner, you visualize and think through those actions as you’re singing. A fun example of action in a song is “Call Me Maybe” by Carly Rae Jepsen. It’s clear that she wants him to notice her and she does fun things in the video to get his attention. Thinking about all those actions (what I’m doing to get what I want) is what you want to do while you’re singing.
大多数歌手如果只是站着不动唱歌都会感到身体僵硬。了解唱歌时如何移动、移动到哪里以及移动什么可以让你在唱歌时看起来更优美。唱歌时,你可以选择站着不动或在舞台上移动。在本章后面的“随着歌声舞动”部分,你会找到一些关于移动幅度的建议,在本章后面的“恰当地运用手势”部分,你会获得关于唱歌时手势的帮助。因为集中注意力对歌曲很重要,所以你会提前知道在表演时应该看向谁——以及为什么睁开眼睛可以让观众在你唱歌时与你产生共鸣。
Most singers feel stiff if they just stand still and sing a song. Knowing how to move, where to move, and what to move when you sing keeps you looking good as you sing. When singing a song, your choices are to stand still or move around the stage. You find some advice on how much to move in the section, “Movin’ and groovin’ with your song,” later in this chapter, and you get help with gesturing as you’re singing in the section, “Gesturing appropriately,” later in this chapter. Because focusing your eyes is important for your song, you find out just ahead who to look at while you’re performing — and why keeping your eyes open keeps your audience connected to you while you sing.
唱歌时,你有时会注视一个地方,有时会环顾四周。了解歌曲的故事有助于你理解你正在唱的歌曲类型,而这种理解会告诉你应该将目光聚焦在哪里。如果你只对一个人说话,你可能会注视着后面的墙壁或你面前的某个地方。例如,在迈克·里德和艾伦·沙姆布林演唱的《我不能让你爱我》就是一首你可能只对一个人说话的歌曲。如果那个人不在房间里,但你却在想他,你可能会渴望地凝视远方。一个例子是埃尔顿·约翰在戴安娜王妃的葬礼上演唱。她不在场,但你知道他在为她唱歌。当你和一群人说话时,你的眼睛可能会四处移动,但它们不会像你在看网球比赛那样移动。眼睛在一个地方停留一段时间,然后转移到下一个想法或部分。
When singing a song, you can sometimes look in one spot and sometimes look around. Knowing the story of your song helps you understand the type of song you’re singing, and this understanding tells you where to focus your eyes. If you’re talking to just one person, you may focus on the back wall or a place out in front of you. An example of a song in which you may talk to just one person is “I Can’t Make You Love Me,” by Mike Reid and Allen Shamblin. If that person isn’t in the room, but you’re daydreaming of him, you may gaze out into the distance longingly. An example is Elton John singing for Princess Diana’s funeral. She wasn’t present, but you knew that he was singing to her. Your eyes may move around when you’re talking to a group of people, but they don’t move like you’re watching a tennis match. The eyes linger in one place for a thought and then shift on the next thought or section.
注意其他人讲故事时的样子:他们的目光会不自觉地以不同的方式环顾四周。当你试图回忆某件事时,你可能会抬头看天花板。这是你试图从记忆库中挖掘出一些东西时的常见反应。当你注视着一个人时,你可能会将目光停留在那个人身上,不会移开。如果你开始思考你正在讲述的内容,你可能会在思考时将目光从听众身上移开。这些都是你眼睛自然而正常的运动。唱歌时,你的目光也会自然地从你正在讲话的人身上移开,然后再移回来。
Notice other people as they’re telling a story: Their eyes automatically look around in different ways. When you’re trying to remember something, you may look up at the ceiling. This is a common reflex when you’re trying to dig something out of your memory bank. When you’re watching one person, you may hold your gaze on that person and not look away. If you start to think about what you’re saying, you may look away from your audience as you think. These are all natural and normal movements of your eyes. When singing a song, you can also have this same natural movement of your eyes moving away from the person you’re addressing and then back.
如果你唱歌时因为直视对方的眼睛而分心,可以试试看他们的发际线。找个朋友试试,问问他们能不能看出你是不是在看他们的眼睛。通常情况下,他们可能根本不知道。让你的朋友也这样做,这样你就能知道你当时的样子了。一直尝试,直到你能自如地唱歌,并保持对目标的专注。
If you get distracted looking someone in the eye as you’re singing, try looking at their hairline instead. Try it sometime on some friends and ask them if they can tell whether you’re looking them in the eye. More often than not, they probably have no idea. Ask your friend to do the same to you so you can see what you look like. Try this until you’re comfortable singing your song and maintaining your focus on your task.
初学唱歌的人会问的一个大问题是他们的手该怎么摆。那么,说话时你的手是怎么摆的呢?如果说话时你的手通常会动,那么在唱歌时它们却僵在身体两侧,你可能会觉得手僵硬。把歌曲当作独白来练习,看看发生了什么,以及角色会如何对故事中的动作做出反应。基本上,你在做出反应时会做手势。例如,想想当你听到“哇!别把那只蜘蛛拿靠近我!”时你会如何反应。或者,当你说“我想买那个娃娃,但那个女人把它从我手里抢走了”或“我在这里!”或“你什么时候才能打扫一下这个乱糟糟的房间?”时,你的手势会是什么样。如果你在歌曲中发现了同样的机会,你会更喜欢用手势来表达,而不是试图在唱歌时计划一些有趣的事情。
The big question beginning singers ask is what to do with their hands. Well, what do you do with your hands as you speak? If your hands normally move when you speak, you may feel stiff if they remain frozen at your side during your song. Work the song as a monologue to discover what’s happening and how the character may react to the actions in the story. Basically, you gesture when you react. For example, think about how you’d move in reaction to “Whoa! Don’t bring that spider any closer to me!” Or how would your hands gesture if you were saying, “I wanted to buy that doll, but the woman snatched it out of my hand” or “Here I am!” or “When are you going to clean up this incredibly messy room?” If you recognize the same kind of opportunities in a song, you feel more like yourself gesturing with your hands than trying to plan something interesting to do during your song.
你可能注意到,当你做手势并念出乐句时,你的手臂会随着手势移动,然后放下。唱歌时,你的手势应该与歌曲的节奏一致。你应该先做手势,然后放下,再移动如果你的歌曲是快节奏的歌曲,你的手臂和手会自然下垂,但在抒情歌曲中,手势会放慢速度以配合歌曲的节奏。另一方面,有时人们会做得太过火,长时间保持同一个姿势。你可能会看起来像是僵住了,不知道该如何把手放下来。
You may have noticed that when you gestured and said the phrases, your arms moved to gesture and then dropped. For singing, you want the gesture to match the pace of the song. You want to gesture and then release the gesture and move your arms and hands back down if your song is an up-tempo (faster paced song) but the gestures in a ballad move slower to match the pace of the song. On the other hand, sometimes people go too far in gesturing by holding the gesture for a long time. You may look frozen as if you aren’t sure how to put your hands down.
在空中画出香奈儿的标志——两个背靠背的“C”,)( — 。
双手先放于身体两侧,然后从每个“C”的底部开始,一直到身体两侧,手掌高度与肩膀差不多。为了使手势看起来自然,肘部和身体两侧应保持一定距离。
Draw the Chanel logo — two back-to-back Cs, )( — in the air.
Start with your hands at your side and trace your hands from the bottom of each C until your hands are out to the side of your body, with your hands about as high as your shoulders. To make the gesture look natural, you want distance between your elbows and the sides of your body.
手势可以千差万别,但这是最基本的手势。练习这个动作时,你可以做得更快,并稍微改变一下,比如只用一只手臂,或者在需要强调文字的时候把手臂抬高一些。
Gestures can vary widely, but this is the most basic shape of a gesture. As you practice this movement, you’ll be able to do it faster and vary it slightly by using just one arm or by moving your arms higher for those times you need a big emphasis for your text.
避免这些手势陷阱:
Avoid these gesturing pitfalls:
当你为观众演唱时,你希望听众既能看到又能听到你的故事和歌声。无论你在舞台上还是房间里做什么动作,都要增强你的歌声和故事的感染力。能够移动唱歌固然重要,但最好从小事做起。不妨考虑以下关于如何协调动作与音乐的技巧:
When you sing for an audience, you want the listener to both see and hear you connect your story and singing. Whatever movements you make around a stage or around the room need to enhance your singing and the story. Being able to move and sing is important, yet starting small is best. Consider these tips on coordinating movement with music:
如果你刚开始唱歌,现在可能有点难以适应添加一些动作。当你在摸索如何用新技巧演绎新歌时,一步一步来。
If singing is new to you, adding some sort of movement may be too much for you right now. Take it one step at a time when you’re figuring out how to perform your new technique with a new song.
第十九章
Chapter 19
本章内容
IN THIS CHAPTER
找出焦虑的根源
Identifying the root of the anxiety
通过准备来应对焦虑
Tackling the anxiety by preparing
评估每次表演的进步
Evaluating your progress at each performance
表演焦虑是各种类型、各种经验水平的表演者面临的一大问题。找到应对焦虑的方法,将紧张和肾上腺素转化为表演中的积极力量,与精湛的技巧同样重要。当你内心的忐忑不安难以控制时,本章将提供一些可靠的方法来克服焦虑。
Performance anxiety is a big problem among performers of all kinds and at all levels of experience. Finding ways of dealing with anxiety and turning nerves and adrenaline into positive forces in your performance are just as important as great technique. For the times when those butterflies in your stomach get out of hand, this chapter offers some dependable methods of working through your anxiety.
知道自己害怕什么,就成功了一半。找到恐惧的根源后,你就能掌控它了。
Knowing what you’re afraid of is half the battle. After you pinpoint the source of your fear, you can take charge of it.
这些恐惧是最常见的恐惧:
These fears are the most common fears:
说出恐惧能让你直面问题并战胜它。在本章中,你可以了解常见的担忧,并确定是什么让你感到恐惧。找到根源后,继续前进,找到解决方案,消除整个问题,而不仅仅是症状。
Naming the fear enables you to go after the problem and beat it. Throughout this chapter, you can read about the common concerns and determine what’s scaring you. After you find the source, move forward and find a solution to eliminate the whole problem, not just the symptom.
新闻快讯:肾上腺素不是敌人!说实话,你需要一点肾上腺素来提升你的表现。
News flash: Adrenaline isn’t the enemy! In all honesty, you want a little adrenaline to boost your performance.
假设演出前必须保持冷静,当你表现得不那么冷静时,你就会陷入焦虑。另一方面,做好紧张和不安的准备,反而能让你克服焦虑,继续唱歌。事实上,你可以利用肾上腺素在体内流动时产生的“战斗或逃跑”的兴奋感来提升你的表演。在重新构建你对演出的想法时,你会从“战斗或逃跑”的肾上腺素转变为一种能够帮助你抓住机会的兴奋感。
Assuming that you must be calm before a performance sets you up for pangs of anxiety when you don’t turn out to be as cool as a cucumber. Expecting to be nervous and jittery, on the other hand, can enable you to sing through your anxiety. In fact, you can use the fight-or-flight excitement of adrenaline coursing through your body to enhance your performance. In reframing your thoughts about the performance, you change from fight-or-flight adrenaline to a rush of excitement that can help you seize an opportunity.
公开你的症状后,你就可以谈谈如何缓解焦虑。选择改变你对自己表现的看法。如果你一直害怕那些你知道即将出现的症状,那么你写完第一段就会觉得这个策略行不通。所以,提醒自己,你焦虑是因为你害怕某些东西;这些症状不会凭空出现。
With your symptoms out in the open, you can talk about how to relieve your anxiety. Make a choice to change your thoughts about your performance. If you continually dread the symptoms that you know are going to arise, you won’t get past the first paragraph without thinking that this tactic won’t work. So remind yourself that you’re anxious because you fear something; the symptoms don’t just randomly appear.
缓解焦虑的关键在于准备。准备不同于过度练习或追求完美。过度练习是指练习过度,以至于你忽略了唱歌的乐趣,而只专注于完美地演唱。追求完美会让唱歌失去乐趣,因为一切都变成了一场竞赛,哪怕只是与自己较量。
The biggest key to alleviating anxiety is preparation. Preparing isn’t the same as overpracticing or aiming for perfection. Overpracticing is practicing so much that you lose sight of the joy of singing and focus only on singing perfectly. Aiming for perfection takes the fun out of singing because everything becomes a contest, if only with yourself.
以下指示可以帮助您做好表演的准备。
The following pointers can help get you prepared for performing.
设定一个记住歌曲的截止日期。你的长期记忆需要锁定歌曲的旋律和歌词。如果你试图在演出前一天晚上记住这首歌,你可能会不知所措,因为你需要同时应对表演的兴奋和记住歌词的细节。
我建议在演出前至少一周记住歌曲。这样你就有七天的时间在不看乐谱的情况下练习这首歌。如果你要唱一组歌曲,你最好提前记住,这样你就有时间与伴奏者一起练习,并在运用演唱技巧的同时练习你的表演目标(参见第18章)。
Set a deadline for memorizing the song. Your long-term memory needs to have locked in the melody and words of the song. If you attempt to memorize the song the night before the performance, you may be overwhelmed trying to deal with the excitement of performing and the details of remembering the words at the same time.
I recommend having the song memorized at least one week before a performance. You then have seven days to work on the song without looking at the music. If you’re singing a group of songs, you may want to have them memorized earlier so you have time to work with the accompanist and work on your acting objectives (see Chapter 18) as you use your singing technique.
做你擅长的事情能增强自信,缓解焦虑。当你对表现感到紧张时,发挥自己的优势来为成功做好准备就更有意义了。
Doing things that you know you’re good at builds confidence and relieves anxiety. Setting yourself up for success by playing to your strengths makes even more sense when you’re nervous about performing.
那些没有经历过表演焦虑的表演者可能会告诉你,克服它,别害怕。我喜欢把这些人称为“肾上腺素瘾君子”。他们喜欢演出前那种肾上腺素飙升的感觉。但试图克服恐惧只会让你感到沮丧。你必须处理你的焦虑,它和肾上腺素不同。焦虑会在肾上腺素的基础上增加一种令人作呕的感觉。你不想停止肾上腺素的分泌——你想消除导致表演焦虑的潜在恐惧。
Performers who don’t experience performance anxiety may tell you to just get over it and stop being afraid. I like to call those people adrenaline junkies. They love that rush of adrenaline just before the performance. But trying to stop being afraid may only frustrate you. You have to deal with your anxiety, which is different from adrenaline. Anxiety adds a sickening sensation on top of the adrenaline. You don’t want to stop the adrenaline — you want to eliminate the underlying fear that leads to anxiety about performing.
有时,你可以利用负面练习来发现症状的极端情况。下次练习时,试着让症状变得更严重——例如,想象或观想一个挑剔的听众。你可能会出现一些焦虑症状。注意这些症状是什么,以及你对听众的感受。当你感受到恐惧时,用音乐伴奏演唱。想象自己能够完成任务,无论想象中的听众看起来多么暴躁。
Sometimes you can use negative practice to find the extremes of your symptoms. Try making the symptoms worse the next time you practice — for instance, visualize or imagine a critical audience. You may experience some symptoms of anxiety. Notice what those symptoms are and how you feel about the audience. As you feel that sense of dread, sing through your music. Visualize yourself being able to complete your task, regardless of how grumpy your imaginary audience looks.
列出经常出现在你脑海中的负面想法是管理思绪的一种方法。直面这些想法能帮助你认识到它们毫无帮助,并促使你转向积极的想法。列出一些肯定句来对抗你的负面想法,也能帮助你重新训练你的大脑,专注于积极的一面。肯定句包括“我的歌唱水平每天都在提高”和“我相信我的呼吸控制能力会随着每次练习而变得更好”。有些人发现将肯定句与轻拍疗法结合起来很有帮助。观看一些关于www.thetappingsolution.com如何用轻拍疗法缓解焦虑的示例视频。
Making a list of the negative thoughts that frequently pop into your mind is a way to manage your thoughts. Facing those thoughts helps you recognize that they aren’t helpful and can prompt a switch to positive thoughts instead. Making a list of affirmations to counter your negative thoughts also can help you retrain your mind to focus on the positive. Affirmations include saying things such as, “My singing is improving each day” and “I’m confident that my breath control gets better with each practice session.” Some people find it helpful to combine their affirmations with tapping. Check out www.thetappingsolution.com for sample videos on using tapping for anxiety.
每当你担心观众对你和你的演唱有何看法时,你的思绪可能会转向观众。你无法摆脱观众;毕竟,观众是你的表演不可或缺的。然而,你可以假装观众并不在场。你不必直接对着观众唱歌,也不必看着他们的眼睛。你可以越过他们的头顶,这样你就不用担心直视他们的眼睛时会读到他们脸上的表情。
Your thoughts may turn to the audience whenever you become concerned about what they think of you and your singing. You can’t get rid of the audience; after all, an audience is a necessity for your performance. You can, however, pretend that the members of the audience aren’t really in the audience. You don’t have to sing directly to the audience or look them in the eyes. You can look over their heads so you don’t have to worry about reading the expression on their faces when you look them right in the eyes.
唱歌时做好自己的本职工作意味着你必须讲述一个故事。缺乏安全感会让你觉得每个人都在用严厉的目光看着你。重新调整你的思维,接受观众,放下你对观众可能抱有的敌意,这对克服你的疑虑大有帮助。你可能听过这个克服舞台恐惧的建议:想象所有观众都穿着内衣坐着。你也可以提醒自己,是观众选择来看你的表演,他们想听你唱得好。
Doing your job as you sing means that you must tell a story. Insecurity can lead you to believe that everyone is looking at you harshly. Reframing your thoughts so that you accept the audience and let go of the hostile image you may have of the audience can go a long way toward overcoming your doubts. You’ve probably heard this suggestion for overcoming stage fright: Imagine that all the people in the audience are sitting in their underwear. You can also remind yourself that the audience chose to attend your performance, and they want to hear you sing well.
你是否曾因为过于专注于一项任务而忘记了时间,或者被身后的人吓了一跳?你也希望在表演中也能保持这种专注力。全身心投入手头的任务,把其他事情留到以后再做。
Have you ever been so focused on a task that you lost track of time or were startled when someone came up behind you? You want this same kind of focus as you perform. Focus totally on your task at hand, leaving the rest of the stuff for later.
练习专注力。设定一个五分钟的计时器,练习在这五分钟里完全专注于唱歌。五分钟可能看起来很短——直到你只需要完成一项任务。你可能会发现自己思绪飘忽,想着别的事情。没关系。设定好计时器,然后再试一次。
集中注意力完成五分钟可能需要几天时间。你也可以练习集中注意力,然后故意让思绪游离,这样就能分辨出其中的区别。
Practice concentration. Set a timer for five minutes and practice focusing totally on your singing for those five minutes. Five minutes may seem like a short amount of time — until you have to fill it with only one task. You may find your mind wandering and thinking about something else. That’s okay. Set the timer and try again.
Working up to concentrating for the full five minutes may take a few days. You can also practice focusing and then intentionally letting your mind wander so you can tell the difference.
把干扰拒之门外。今天早些时候的争吵,明天要交的报告,即将到来的假期——任何日常琐事都可能占据你的心头。创造一个仪式,让你把这些干扰拒之门外。
例如,你可以在练习室门外放一个篮子,在进入练习室之前,在心里把所有的担忧和沮丧都倾倒进去。你也可以在练习前写一份待办事项清单,这样你就能清楚地知道练习结束后需要思考什么。承认你仍然需要在心里解决这些问题,然后着手处理当前的任务。
Leave distractions at the door. That fight you had earlier in the day, the report that’s due tomorrow, your upcoming vacation — any number of everyday concerns may occupy your mind. Create a ceremony that enables you to leave those distractions at the door.
For example, you may want to put a basket outside your practice room door and mentally dump all your worries and frustrations into it before you enter the room. You can also write a to-do list before your session so you know exactly what you need to think about right after you practice. Acknowledge that you still have to resolve those issues in your mind, and then move to the current task at hand.
即使我提供了所有这些建议,你也必须通过实际表现来克服表现焦虑。定期让自己处于关键时刻,找到最佳状态。篮球运动员练习投篮,是为了让他们的身体记住那种在关键时刻的感觉。你也必须在关键时刻考验自己的技能。当你达到以下状态时,你就知道你已经准备好公开亮相了:
Even with all the tips I offer in these sections, you must perform to get over performance anxiety. Put yourself in the hot seat on a regular basis to find your groove. Basketball players practice their shots so their bodies remember those sensations in the heat of the moment. You, too, must put your skills to the test in the heat of the moment. You know you’re ready to take it public when:
为每一次演出制定一个成功的行动计划。假设你会成功,就意味着你一定会成功。假设你会失败,就等于屈服于你脑海中的声音。
For every performance, make a plan of action for success. Assuming that you’re going to succeed means that you will. Assuming that you’re going to fail is the same as giving in to those voices in your head.
重新审视一下过去人们对你表演能力说过的那些蠢话。批评是人的天性,但请记住,这只是个人观点。如果我听信了别人说的话,我永远也不会写这本书,也永远不敢在纽约当歌手。
Reframe those stupid things people have said to you in the past about your performing abilities. Being critical is human nature, but remember that it’s only one person’s opinion. If I’d listened to things people said to me, I’d never have written this book or dared to be a singer in New York.
记录你的进步。列出你想要完成的目标,并在每次表现中争取完成清单上的一项新任务。
例如,第一个任务可能是记住所有歌词。在家练习时分散注意力,可以提高你的专注力。当你在第一次表演时记住所有歌词后,你可以尝试在第二次表演时记住歌词并保持呼吸一致。仅仅是将呼吸融入身体并运用它就能帮助解决许多其他技术问题。当你实现每个目标时,给自己一颗金星。
Chart your improvement. Make a list of what you want to accomplish, and, with each performance, shoot to accomplish one more task on the list.
For example, the first task may be remembering all the words. By practicing with distractions at home, you boost your ability to concentrate. When you remember all the words at your first performance, you may want to try remembering the words and breathing consistently at the second performance. Just getting the breath in your body and then using it helps with many other technical problems. Give yourself a gold star when you achieve each goal.
进步源于你迈出的每一步。每次演出结束后,请参考以下部分列出的清单,回顾一下你的表现和感受。生活中的一切都会影响你的歌唱,所以要找出哪些步骤对你有效,并修改那些无效的步骤。
Progress happens because of each step you take. After every performance, look at how you did and how you felt, using the lists in the following sections. Because everything in your life affects your singing, decide what steps worked well for you and modify the ones that didn’t.
检查你的表演技术层面,找出可以改进的地方。看看哪些地方做得好,哪些地方做得不好,然后为下次的表演做出调整。表演结束后,问问自己以下问题:
Check the technical aspects of your performance to discover what you can improve upon. Look at what did and didn’t work well, and then make adjustments for next time. Ask these questions after your performance:
记录你的进步时要公平。看到自己在控制肾上腺素和恐惧方面逐渐进步很重要。你可能要过几个月才能适应在公共场合唱歌,所以给自己一些时间。每次表演后,列出你做得好的地方。当你完成的比清单上列出的更多时,承认这一点很重要。朝着目标稳步前进才是关键。
Be fair when charting your progress. Seeing gradual improvement in your quest to manage adrenaline and fear is important. Several months may pass before you feel comfortable singing in public, so give yourself some time. After each performance, list what you did well. When you accomplish more than what’s on your list, recognizing that accomplishment is important. Taking consistent steps toward your goal is the key.
为了缓解您的焦虑,请回答以下问题以帮助您记住自己的感受。
To ease your anxiety, answer the following questions to help you remember how you felt.
提出这些问题可以帮助您了解几周或几个月内的进展。
Asking these questions helps you see your progress over the course of a few weeks or months.
第二十章
Chapter 20
本章内容
IN THIS CHAPTER
了解试镜详情
Getting the lowdown on auditions
挑选一首获胜歌曲
Picking a winning song
为重要的日子做准备
Preparing for the big day and more
了解预期对象和预期内容
Finding out who and what to expect
想参加当地剧院或歌剧团的试镜吗?想参加百老汇演出?想参加真人秀?想加入摇滚乐队?在规划你的首秀之前,你需要知道如何准备试镜。在本章中,你将学习如何选择和准备合适的试镜歌曲。你还会了解试镜过程中的注意事项,以便做好准备,让你的表演惊艳全场!
Want to audition for the local theater or opera company? A Broadway show? Reality TV? A rock band? Before planning your debut, you need to know how to prepare for an audition. In this chapter, you explore how to choose and prepare an appropriate song for the audition. You also find out about what to expect at an audition so that you’re prepared to knock their socks off!
试唱是一项可以培养的技能。为了参加试唱,你需要确保你的演唱技巧达到最佳状态,以适应你想演唱的音乐风格。请参阅第14章,了解如何针对不同风格的演唱进行训练。本章概述了你在准备参加演出试唱时需要了解的内容。
Auditioning is a skill that you can develop. For auditions, you want to make sure that your singing technique is in tip-top shape for the style of music you want to sing. Check out Chapter 14 for training for different styles of singing. This chapter outlines what you need to know when you’re ready to audition for a performance.
不同风格的音乐都有其特定的试镜指南。无论你演唱哪种风格,以下是你在试镜时需要牢记的要点:
Different styles of music have specific guidelines for auditioning. No matter what style you sing, here are the big things you want to keep in mind for any audition:
以下部分包括针对不同风格音乐试镜的基本指南。
The following sections include basic guidelines for auditions for different styles of music.
在歌剧界,了解你的特定嗓音类型或嗓音类别(也称为“ fach”(发音为“f a hk”))并坚持下去至关重要。请参阅第二章,了解更多关于不同嗓音类型和嗓音类别的详细信息。在你的试镜表或简历中,只列出特定嗓音类别中的咏叹调(歌剧歌曲)是个好主意。
In the operatic world, knowing your specific voice type or voice category, which is also called a fach (pronounced “fahk”), and sticking to it is important. See Chapter 2 for more details about the different types of voices and voice categories. Listing only arias (songs from an opera) within a specific vocal category on your audition form or resume is a good idea.
您必须在歌剧试镜中展示的技能包括以下内容:
Skills that you have to demonstrate at the opera audition include the following:
歌剧公司正在寻找歌唱得好、外表合适、演技精湛的歌手。
Opera companies are looking for singers who sing well, look the part, and can also act.
在音乐剧中,你需要轻松自如地切换演唱风格。在你唱完你那动听的头声部分,比如《窈窕淑女》里的《I Could Have Danced All Night》之后,你可能会被要求演唱腰带部分(例如《安妮》里的《Tomorrow》 )或流行摇滚部分(比如《吉屋出租》里的《Take Me or Leave Me》 )。你需要在两种风格之间来回切换,并且必须练习所有三种风格,直到完全适应为止。你可能会遇到一些音乐剧演员,他们并非腰带部分高手,但你最好学会如何同时掌握这三种风格。
In musical theater, you need to switch your style of singing with ease. Right after you sing your lovely head voice selection, such as “I Could Have Danced All Night” from My Fair Lady, you may be asked for your belt song (an example of a belt song is “Tomorrow” from Annie) or pop-rock song (such as “Take Me or Leave Me” from Rent). Bouncing back and forth between the styles is expected, and you have to practice all three until they’re comfy. You may find some musical theater performers who aren’t belters, but you’re better off knowing how to do all three.
在音乐剧试镜中,你需要运用精湛的演技来演绎故事,带领听众踏上一段旅程,演绎从经典歌曲到流行摇滚的各种风格。这段旅程可能只有16小节,但无论多么短暂,你都必须带领观众体验一段旅程。你还需要舞技精湛,或者至少动作优美。有时试镜会面向非舞蹈演员,但大多数情况下,你必须舞技出色或动作优美才能进入音乐剧。
At the musical theater audition, you’re expected to use great acting skills to portray the story and take the listener on a journey in a variety of songs ranging from standards to pop-rock songs. The journey may last only 16 bars, but you have to take the audience for a ride, no matter how short the trip. You also want to dance well, or at least move really well. Sometimes auditions are held for nondancers, but most of the time you have to dance or move well to get into the musical.
如果你是爵士、乡村、流行摇滚或 R&B 歌手,你可能想去俱乐部试镜。如果你有机会去当地的酒吧或夜总会(或类似的场所)试镜,你的试镜方式与歌剧或戏剧的试镜截然不同。在这些类型的音乐中,节目内容通常是已经写好的;你试镜的是特定的角色。而当你试镜俱乐部演出时,你需要自己构思节目内容!
If you’re a jazz, country, pop-rock, or R&B singer, you may want to audition for gigs in clubs. If you have a chance to audition for a local bar or nightclub (or a similar venue), your audition works much differently than an audition for opera or theater. In those genres, the show usually is already written; you’re auditioning for a specific part. When you audition to play in a club, you make up the show!
你可以创作音乐或演唱一组特定主题的歌曲,让观众拍手跟唱。你需要展现的技能包括出色的演唱和故事叙述能力。你的表演需要充满火花,才能吸引观众的注意力。对于这类试镜,你需要准备一组歌曲,以证明你能够吸引观众至少半小时的注意力。试镜时你可能只唱一首歌,但你需要准备更多歌曲。
You may write the music or perform groups of songs that have a particular theme to keep an audience clapping and singing along. Skills that you have to show off include great storytelling while singing and showmanship. You need a spark in your performance so that people want to watch you. For this kind of audition, you want to have a group of songs ready to show that you can hold the audience’s attention for at least a half-hour set. You may sing only one song at the audition, but you want to have more options ready.
在乐队试镜期间,歌手会和乐队成员一起唱一些歌曲,这样他们就能了解歌手的声音和演唱水平歌手要与乐队融为一体。你需要一副敏锐的耳朵来掌控旋律并与乐器融合,唱歌时要充满自信,这样乐队才能跟上你的节奏。在声乐方面,你需要刻意发出不同的声音,从清晰的音色到气息轻柔的音色,以诠释歌曲的歌词。
During an audition for a band, the singer sings some songs along with the band members so they can get a sense of how the singer’s voice sounds and how well that singer blends with the group. You need a good ear to hold your melody and blend with the instruments, and you need to be confident when you sing so the band follows you. Vocally, you need to purposely make varied sounds, from clear tones to breathy and wispy tones, to portray the text of the song.
如果你没有乐队试镜,那就找一些适合钢琴演奏、不需要伴奏也能听出好听的歌曲。或者带上你自己的曲目。表演流行摇滚或R&B时,你可能需要边唱边跳。表演技巧在这个行业里至关重要,但表演技巧应该能提升演唱技巧。
If you’re not auditioning with a band, find songs that work well with piano and don’t require a back-up band to sound good. Or bring your own tracks. When you perform pop-rock or R&B, you may have to dance and sing at the same time. Showmanship counts a great deal in this business, but the showmanship should enhance great singing technique.
参加电视试镜固然令人兴奋,但如果你只在小剧院或教堂唱诗班表演过,那可能感觉完全不同。以下是一些为电视表演试镜歌曲的基本准则:
Auditioning for television is thrilling, but it may feel like a different world if you’ve performed only in small theaters or the church choir. Here are some basic guidelines for auditioning your song for a televised performance:
选择练习歌曲和选择试镜歌曲不同。你想练习那些能够拓展和挑战你声乐技巧的歌曲。但试镜歌曲需要突出你的优势以及你在长时间练习中积累的成就。试镜时,你需要有丰富的故事情节和表演选择,以及丰富的音色和良好的音域。你也可以研究试镜内容,然后适当地突出你的优势。以下部分将更详细地解释。
Selecting songs to practice is different than selecting songs for an audition. You want to practice songs that expand and challenge your vocal technique. But songs for the audition need to highlight your strengths and accomplishments from all those hours of practice. When you audition, you want a variety of stories and acting choices, as well as multiple vocal timbre and good range. You also can research the audition and then highlight your strengths appropriately. The following sections explain in more detail.
是的,变化是生活的调味剂,你选择的歌曲也应该多样化。一点点变化能让你有机会展现均衡的技巧。第一首歌可以展现华丽的高音,第二首歌可以展现你快速变调的能力。
Yes, variety is the spice of life, and your choice of songs should offer variety. A little variety gives you an opportunity to show off a well-balanced set of skills. Song number one can be a song that shows off glorious high notes, and song number two may have a sassy belt that shows off your ability to change gears quickly.
寻找能展现你歌唱实力的歌曲,并尝试在每首歌曲中寻找变化。最大的陷阱是避免只选择那些展现相同性格(或相同个性)并展现相同嗓音的歌曲。如果你只展现自己的一面,试镜者就无法看到你是一位技艺精湛的表演者,能够演唱不同类型的歌曲,并为整个演出增添变化和亮点。
Find songs that show off your strengths as a singer, and try to find variety within each song. The biggest pitfall to avoid is choosing only songs that develop the same kind of character (or same personality) and showcase the same kind of vocal sound. If you show only one side of you, the auditioner can’t see that you’re a skilled performer who can sing different kinds of songs and can add variety and spice throughout the show.
以下列表提供了在特定类型的试镜中展示多才多艺的方法:
The following list offers ways to show versatility at specific types of auditions:
你不能仅仅因为一首歌唱得好就选择它。如果你唱得好,你的唱片就能卖出去,而不是让观众看着你唱。当你找到一首你唱得非常好的歌时,你需要想办法让它成为你作为演员的专属。记住以下几点:
You can’t choose a song just because you sing it well. If you just sing it well, you can sell a recording instead of asking an audience to watch you sing it. When you find a song that you sing really well, you need to figure out how to make it work for you as an actor. Keep these tips in mind:
我强烈建议你尝试找到最适合你嗓音的歌曲。如果你唱错了调,最终你可能会在高音部分听起来更像科米特蛙,而不是凯莉·克拉克森或约翰·传奇。请参阅第16章,了解一些网站,它们可以让你了解乐谱的调性,或者在购买之前选择你想要的调性。歌剧咏叹调很少会变调。你可能会找到不同调的艺术歌曲,但咏叹调通常用原调演唱。如果你计划在试镜中演唱咏叹调以外的其他曲目,请继续阅读以获取帮助。
I highly recommend that you try to find the song in the key that is best for your voice. If you sing a song that’s in the wrong key, you may end up sounding more like Kermit the Frog than Kelly Clarkson or John Legend on those high notes. See Chapter 16 for websites that allow you to find out what key sheet music is in or choose the key you want before you buy it. Opera arias are seldom transposed. You may find art songs in different keys, but the arias are usually sung in the original key. Keep reading for help if you plan to sing something other than arias at your audition.
不过,如果你终于找到一首几乎完美契合你的歌曲——也许音符有点太低或太高——你可以把它移调。移调是指某人——你或你雇佣的人——将歌曲的调性调整到与原曲不同的水平,从而使旋律听起来更高或更低。
Still, if you finally find a wonderful song that’s almost perfect for you — maybe the notes are a tad too low or too high — you can transpose it. When a song is transposed, someone — you or someone you hire — puts the song in a key other than the one it was originally written in so the melody sounds higher or lower.
如果您对歌曲进行移调(或让其他人进行移调),请记住以下几点:
If you transpose your song (or have someone else do it), keep these points in mind:
在试镜之初,你可能没有机会唱完整首歌。对于你计划在试镜中演唱的每首歌,提前选择16小节或8小节(称为片段)并准备好。不过,最好还是了解整首歌的内容,以防万一被要求演唱。例如,歌剧公司和许多当地社区的试镜可能会允许你唱完整首歌。这样的机会对你来说很棒,但即使在这种情况下,也要准备好片段,以防万一他们安排的演唱时间过长。
In the beginning of your audition quest, you may not have the opportunity to sing your entire song. For each song that you plan to sing at your audition, choose 16 bars or 8 bars (called a cut) in advance and prepare this selection. Still, knowing the entire song is best, just in case you’re asked to sing it. Opera companies and many local community auditions, for example, may allow you to sing the whole song. That opportunity is great for you, but even in these situations, be prepared with a cut, in case they start to run late.
歌曲剪辑时,你可以数出小节,或者假设你大约有30秒的时间来演唱。这段时间很短,所以要充分利用。在确定16小节时,请记住以下几点:
When you cut the song, you can count out the measures or assume that you have about 30 seconds to sing. That’s a short amount of time, so make the most of it. When deciding on the 16 bars, keep these points in mind:
www.halleonard.com有音乐剧歌曲试镜片段的书。www.musicnotes.com有流行摇滚歌曲的剪辑。www.halleonard.com has books of audition cuts from musical theater songs.www.musicnotes.com has cuts of pop-rock songs.在排练和准备乐谱时,要标出伴奏者可能觉得歌曲中比较棘手的地方。如果你要带钢琴师给你弹奏,请他们帮你做标记。如果你是独自一人,并且有信心自己做标记,可以用荧光笔在纸质乐谱或电子版上标出以下内容:
As you rehearse and prepare your music, highlight whatever an accompanist may find tricky in the song. If you’re taking it to a pianist to play it for you, ask them to mark it. Assuming that you’re on your own and feel confident that you can mark your music yourself, use a highlighter and highlight the following on your printed music or the digital copy:
在带你的歌曲或咏叹调去试听之前,聆听钢琴家演奏非常重要。如果你不懂乐谱,这一点就更加重要了。你可能会错误地认为你的歌曲和你在收音机里听到的版本一模一样,所以当你在试听中第一次听到你的歌曲,却完全不知道那些声音是什么时,你可能会大吃一惊。记住,出版社通常会出版一些容易演奏的调式歌曲。如果电台里的歌手演唱的歌曲调性很强,而且有很多临时记号(在单个音符前加升、降或还原记号,表示它们高半音或低半音),出版社可能会修改调性,让钢琴初学者更容易上手。
Hearing a pianist play your song or aria before you take it to an audition is important. If you don’t read music, this is even more important. You may erroneously assume that your song is the exact same version that you heard on the radio, so it may come as quite a shock when you hear your song for the first time at an audition and have no earthly idea what those sounds are. Remember that publishing companies often publish songs in keys that are easy to play. If the singer on the radio sings the song in a really hard key with many accidentals (sharp, flat, or natural signs placed before individual notes to indicate that they’re a half step higher or lower), the publishing company may change the key to make it more accessible to beginning pianists.
在试唱前请一位钢琴师帮你读谱,这样你就有机会检查调性,确保它恰好在你想要演唱的音域内。以下部分将解释伴奏者可以为你做些什么。
By having a pianist read your music for you before an audition, you get an opportunity to check the key to make sure that it’s exactly in the range where you want to sing. The following sections explain what an accompanist can do for you.
你的声乐老师可能已经为你演奏过这首歌,你可能对那个版本很满意。当你把这首歌拿给别人读的时候,你的领唱必须更加具体。
Your voice teacher may have been playing the song for you, and you may be comfortable with that version. When you take it to someone else to read it for you, you have to be much more specific when you lead.
你第一次呼吸的速度也预示着你的节奏。如果你呼吸很快,伴奏者就会认为乐曲会逐渐展开。如果你第一次呼吸缓慢而从容,伴奏者就会认为乐曲会缓慢展开。
The speed with which you take your first breath also indicates your tempo. If you take a quick breath, the accompanist assumes that the song is going to move out. If your first breath is slow and deliberate, they can assume that the piece is going to move slowly.
钢琴师可以检查你做的剪辑或你插入的新的方向标记。如果他们无法理解这些标记,可以问问他们如何写出来,以便让从未看过这首歌的人也能理解。
The pianist can check the cuts you made or new directional markings that you inserted. If they have trouble following the markings, ask them how to write it out to make it clear to someone who’s never seen the song.
如果你改了调,并在线上添加了新的和弦符号来表示新的和弦序列,一定要让钢琴师帮你检查。一个小小的错误都可能导致你最后弹错高音。
If you’ve changed the key and put new chord symbols over the line to indicate the new sequence of chords, make sure that the pianist checks these for you. One tiny error can lead you to the wrong high note at the end.
你还可以请钢琴师帮你标记歌曲,以便明确你的要求。如果你想在结尾放慢速度,或者在某个部分提高音量,请他们帮你标记,这样伴奏者就能提前读到并知道这些变化。如果你的节奏真的很重要,你可以请钢琴师写下速度标记,准确地标明你想要的演唱速度。试听钢琴师可以看到标记,并估算出你想要的速度。
You may also want to ask the pianist to help you mark the song to make your needs clear. If you want to slow down at the end or get louder in one section, ask them to help you mark the piece so that any accompanist can read ahead and see those changes coming. If your tempo is really important, you may want to ask the pianist to write in a tempo marking to indicate exactly the speed at which you want to sing. The audition pianist can see the marking and estimate your desired tempo.
准备试镜音乐有多种选择,我将在以下章节中详细讨论:
You have several options for preparing music for an audition, which I discuss in greater detail in the following sections:
准备试镜音乐是一门艺术,而准备笔记本是试镜成功的关键。如果你的乐谱清晰易懂,伴奏者演奏得当,你的试镜就会顺利进行。在各种试镜中,准备一本记录歌曲的笔记本是很常见的。
Preparing music for auditions is an art, and notebook preparation is a big part of your audition success. If your music is easy to read and the accompanist plays it well, your audition will run smoothly. Having a notebook with songs is common in all types of auditions.
在乐谱上打孔,然后将乐谱页放入三环活页夹。将乐谱页背对背摆放,就像书本一样,或者将乐谱双面复印,然后打孔。翻页时,伴奏者应该会看到两页新的乐谱页,就像一本书一样。如果乐谱页不是双面的,请用胶带(不要用订书机!)将乐谱页的顶部和底部右角粘在一起。
另一个方法是复印歌曲,然后将每页纸张背对背地放入防眩光活页夹中。大多数办公用品商店都有售。一定要购买防眩光活页夹,这样房间里的灯光就不会产生眩光。
有些钢琴家不喜欢用防眩光的乐谱套在笔记本里弹奏乐谱,而有些则喜欢。如果没有防眩光的乐谱套,可以把乐谱复印下来,用胶带把乐谱页粘到文件夹(或其他容易立起来、不会被风吹倒的东西)上,或者用胶带把乐谱页粘在一起,这样钢琴家就可以把乐谱摊开在乐谱架上。最好用胶带把乐谱页粘在一起,因为房间里的微风可能会把单张乐谱吹走。
Punch holes in the music and insert the pages into a three-ring notebook. Put the sheets back to back, just like they appear in a book or copy the music double-sided, and punch the holes. When turning the page, the accompanist should see two new pages of music just like a book. Tape (don’t staple!) the sheets together on the top and bottom-right corners if your pages aren’t double-sided.
Another option is to photocopy the song and slip the pages back to back into nonglare sheet protectors. You can purchase them at most office supply stores. Be sure to purchase the nonglare protectors so the lights in the room don’t create a glare.
Some pianists refuse to play music in nonglare sheet protectors in a notebook, and some love it. If nonglare sheet protectors aren’t an option, copy the music and tape the pages to file folders (or something that stands up easily and won’t blow over), or tape the pages together so they’re connected and the pianist can spread out the music on the music rack. You want the pages to be connected with tape because a breeze in the room can blow away single sheets.
如果您打算将电子版乐谱带到您的电子设备上供伴奏者演奏,请务必询问他们是否同意。有些伴奏者愿意阅读您设备上的乐谱,有些则不愿意。您或许可以在小型设备上清晰地查看电子乐谱,但伴奏者可能看不清楚,因此需要复印件。试奏前,请他人在设备上为您播放乐谱。由于伴奏者需要快速翻页,翻页时可能会碰到设备。
If you plan to take your digital copy of your music on your electronic device for the accompanist to play, be sure to ask if doing so is okay. Some accompanists are willing to read the music on your device and some aren’t. You may be able to see the digital music really well on your small device, but your accompanist may not be able to see it well and will need the photocopy. Have someone play the music for you before the audition on the device. Because the accompanist has to turn pages fast, they may knock over the device when swiping a page turn.
在试镜时提供自己的录音供大家跟唱,可以让你有机会排练并熟悉伴奏。确保你的音频文件质量良好,方便大家跟唱。无论你是使用电脑软件还是聘请伴奏者录制,都要使用高质量的录音系统,这样音频文件的声音才能在试镜时给人留下良好的印象。你可以使用关键词“伴奏曲目”在网上搜索出售你歌曲曲目的网站。
Providing your own recording to sing along with at the audition gives you a chance to rehearse and get familiar with the accompaniment. Make sure that your audio file is a good-quality recording to sing along with. Whether you use computer software or hire an accompanist to record it, use a good-quality recording system so that the sounds on your audio file make a good impression at the audition. You can search online for sites that sell tracks of your song using keywords “backing tracks.”
试镜室各不相同,所以你需要询问房间里有哪些设备可以播放你的曲目。有些试镜室有电子设备接口,但设备类型可能有所不同。练习唱歌和将您的电子设备连接到不同类型的设备,以便快速了解如何连接您的设备并使用不同的音响系统和扬声器听到您的声音,或者带上您自己的设备。
Audition rooms aren’t all the same so you want to ask what equipment will be available in the room for playing your track. Some have a hookup for your electronic device, but the type of equipment may vary. Practice singing and connecting your electronic device to different kinds of equipment to get used to quickly figuring out how to hook up your device and hearing your voice with different acoustics and speakers or bring your own.
要想成功试镜,你必须做好准备。你的试镜可能会面临很多竞争;充分的准备可以增加你获得机会的机会。以下部分提供了一些准备技巧。
To nail your audition, you want to be prepared. Your audition may draw a lot of competition; being really prepared increases your chances of getting the gig. The following sections offer some preparation tips.
了解你的风格、选择你的歌曲以及准备你的音乐是准备试镜最重要的步骤。但你也不想让这些小细节被忽略!根据你选择的音乐类型或你所在城市的规模,你可能不需要做所有这些事情。在竞争更激烈的大城市(尤其是在音乐剧领域),你需要确保尽一切努力做好准备。
Knowing your style, choosing your song, and preparing your music are the most important steps you take in preparing for your audition. But you don’t want to let the small things fall through the cracks, either! Depending on your selected genre of music or the size of your city, you may not have to do all these things. In bigger cities with more competition (particularly in the musical theater genre), you want to make sure that you do everything you can to be prepared.
www.backstage.com,如果是歌剧,也可以在 上阅读www.csmusic.net。在 Backstage 网站上,查找你附近的城市/国家列表。阅读试镜信息可以让你有一些时间熟悉试镜列表,并准备好你的试镜手册(一本笔记本,里面有你准备在试镜中演唱的所有歌曲的复印件),以应对任何类型的演出。在准备过程中,设定一些目标——包括短期目标和长期目标——这样你就能有一个行动计划。www.backstage.com, and for opera, do the same at www.csmusic.net. At Backstage online, look for a list of cities/countries near you. Reading about auditions gives you some time to get used to the audition listings and to prepare your audition book (a notebook that has photocopies of all the songs you’re prepared to sing for auditions) for any type of show. As you’re preparing, set some goals — both short term and long term — so you have a plan of action.www.actorsaccess.com和www.playbill.com。www.actorsaccess.com and www.playbill.com.完善你的简历。简历就像娱乐行业的名片。整理简历时,列出你重要的作品,并假设有人只会花大约30秒浏览它。如果你列出你做过的每一件事,试镜小组可能会错过你真正想让他们看到的那些作品。
简历尽量控制在一页以内。不要在特殊技能上撒谎或夸大其词。在古典音乐试镜中,列出你的嗓音类型时要具体;音乐剧试镜中,添加关于高音演唱的信息很重要(例如女中音、高音带女高音、男中音等等)。你应该在简历中列出你的音域和嗓音类型。他们想知道你的表演范围,以及你在表演中自信演唱的音符。即使你的简历已经发布到网上,也要随身携带一份副本以防万一。发布试镜信息的网站通常会提供一些关于如何准备简历的文章。
Polish your resume. A resume is like a calling card for the entertainment industry. When you put together your resume, list your important credits and assume that someone will spend only about 30 seconds looking at it. If you list every single thing you’ve done, the audition panel may miss the credits you really want them to see.
Keep your resume to one page only. Don’t fib or stretch the truth on special skills. Be specific when listing your voice type for classical auditions; adding information about belting is important for musical theater auditions (mezzo belter, soprano with high belt, baritenor, and so on). You want to list your range along with your voice type on your resume. They want to know your performance range, the notes you’re confident singing in performance. Even if your resume is posted online, keep a copy with you just in case. Websites with audition listings tend to have articles about preparing your resume.
说茄子。大多数试镜时,歌手都会带一张叫做头像的照片。头像通常是一张8 x 10英寸的彩色照片,只拍头部或上半身。照片底部的边框处通常会印上歌手的名字。你的照片需要看起来像你试镜时的样子。即使你的照片已经上传到网上,也要多准备几份以防万一。把头像和简历用订书钉装订在一起,订书钉光滑的一面朝向简历的一面,或者用双面胶把它们粘在一起。
如果你不确定是否应该带简历和头像去试镜,可以咨询一下。(可以联系剧院办公室或试镜广告中列出的联系人。)但一般来说,答案肯定是“是”;最好还是准备好,以防万一。
Say cheese. At most auditions, singers bring a photograph called a headshot. This headshot is usually an 8-x-10-inch, color photograph of just the head or upper body. The photo also usually has the singer’s name printed on the bottom in the border. Your photo needs to look like you at the audition. Even if your photo is posted online, have a few copies on hand just in case. Staple the headshot and resume together, with the smooth side of the staple facing the resume side, or use double-sided tape to attach them.
If you’re not sure whether you should take a resume and headshot to your audition, you can ask. (Call the theater office or the contact person listed in the audition ad.) But assume that the answer will be “yes”; it’s better to have it ready, just in case.
试镜时,记住,从你进门的那一刻起,其他人就会注视着你——而不仅仅是在你唱歌的时候。你要展现你的身材,穿上合适的服装,让自己看起来更漂亮。如果你正在为音乐剧或特定角色的演出试镜,想想你试镜的角色是什么。看起来像。你想展现角色,但不要穿得和角色一模一样。参加歌剧试镜,你需要看起来优雅大方。穿牛仔裤和酷炫的网球鞋参加流行摇滚试镜没问题,但参加歌剧试镜就不行了。如果你不是参加角色试镜,那就选择一套能展现你个性并凸显身材的服装。
At your audition, remember that other people are looking at you from the minute you walk in the door — not just when you sing. You want to show off your body and look great in your outfit. If you’re auditioning for a musical or a production with a specific character, think about what the character you’re auditioning for looks like. You want to suggest the character but not dress exactly like the character. For an opera audition, you want to look classy. Wearing jeans and your cool tennis shoes is fine for a pop-rock audition, but not for an opera audition. If you’re not auditioning for a character role, choose an outfit that shows off your personality and highlights your figure.
无论是视频、音乐剧还是歌唱比赛,每部音乐剧的制作都需要试镜才能获得演出机会。无论试镜是现场还是线上,本章中的信息都能帮助你做好准备。以下技巧尤其适用于线上试镜:
For every musical production from a video to a musical to a singing contest, an audition is part of the process to get the gig. Whether the audition is live or online, the information in the chapter helps you prepare. These tips can help you specifically with online auditions:
提前录制视频。你可以提前制作视频,这样当你看到网上列出的试镜信息时,就可以提交了。录制完整歌曲、歌曲片段和清唱歌曲的视频,这样你就可以为不同类型的试镜准备不同的视频。制作试镜视频可能需要一些时间,所以如果你想开始提交在线试镜的视频,请提前做好计划。
选择合适的地点和设备录制视频是一项重要的决定。即使你在淋浴时唱歌听起来很棒,也应该在声学效果良好且可控的房间(不会听到其他噪音的房间)录制,然后聆听录音并比较声音。
尝试使用家中已有的录音设备。大多数情况下,使用手机或数码设备录音都可以。在手机或笔记本电脑上使用不同的应用程序进行录音,看看哪个应用程序能提供最佳的音质和视频效果。当你开始为更高级的表演(例如音乐剧或电视歌唱比赛)提交视频时,你可能需要投资购买更先进的设备,例如兼容电脑录音软件的专业级麦克风。
Record your videos ahead of time. You can create videos ahead of time so you have them ready to submit when you see an audition listed online. Record videos of full songs, cuts of songs, and a capella songs so you have a variety of videos for different types of auditions. Creating a video for an audition can take some time so plan ahead if you want to start submitting videos for online auditions.
Choosing the right place and equipment to record your video is a big decision. Even though you sound awesome singing in the shower, record yourself in rooms with good acoustics and controlled acoustics (room where you don’t hear other noises), and then listen to the recordings to compare the sound.
Experiment with recording equipment that you already have at home. For most recordings, using your phone or your digital device is fine. Record with different apps on your phone or your laptop to see which one offers the best sound and video options. When you begin submitting videos for more advanced performances like a musical production or televised singing contest, you may want to invest in more advanced equipment like a professional quality microphone that is compatible with software to record on a computer.
试镜的钢琴师可能是你的朋友,也可能是你的敌人,这取决于你的表现。大多数时候,试镜的钢琴师都很酷,演奏得像梦一样。
The audition pianist can be your friend or foe, based on how you behave. Most of the time, the pianist who is at the audition is a cool person who plays like a dream.
一些看似无伤大雅的简单动作,却能真正激发伴奏者的热情。请允许我分享一些小技巧:
A few simple actions that seem harmless to you can really set off an accompanist. Allow me to share a few tips:
你可以希望试镜钢琴师能够视奏转调,但不能想当然地认为他们一定具备这项技能。你可以问问他们是否会转调,但如果他们犹豫或说不会,那就选择其他曲目来演唱。
看谱和看乐谱转调是两种不同的技巧。除非一个人习惯于转调歌曲,否则这可能不是他们的强项。当钢琴师尝试用你最喜欢的调读乐谱时,你可能会听到更多错音。为了安全起见,请在试奏前提前将歌曲转调好。有关如何选择正确调的歌曲的详细信息,请参阅本章前面的“选择调”部分。
You can hope that the audition pianist can transpose at sight, but you can’t assume this skill. Feel free to ask whether they can transpose, but if they hesitate or say no, choose something else to sing.
Reading music on the page and transposing at sight are two different skills. Unless someone is used to transposing a song, it may not be their strongest skill. You may also hear more wrong notes as the pianist attempts to read it in your favorite key. Be safe, and get the song transposed well in advance of your audition. See the section, “Choosing the key,” earlier in this chapter, for details on choosing a song in the right key.
边唱歌边表演是必须的。你对歌曲的表演准备需要像音乐准备一样细致。请参阅第18章,了解如何边唱歌边表演。你希望观众在试镜时注视着你,如果你不表演,他们就没有理由看你。
Acting while singing is a must. Your acting preparation of your song needs to be as detailed as your musical preparation. Check out Chapter 18 for information on acting while singing. You want your audience to watch you during your audition, and if you aren’t acting, they have no reason to look at you.
在试镜时,你选择视线的方向与讲故事时视线的方向类似。你唯一要做的决定就是是否看着你唱歌的对象。大多数时候,这个问题的答案是不要进行眼神交流。但是,如果你的歌曲有趣、活泼、有个性,请看着你的观众。针对你看不见的场景搭档的歌曲最好是面向你正前方墙上的那个假想搭档。因为你假装在和那个场景搭档说话,所以你要看着他们,就好像他们和你在同一个房间里一样,但不要盯着他们看。当你和某人交谈时,你会看着那个人,然后把目光移开,但不要盯着他们看。当你在试镜唱歌时,你不想盯着墙看。
At an audition, your choice of where to direct your eyes is similar to where you direct your eyes if you’re telling a story. The only decision you have to make is whether to look at the person you’re singing to. Most of the time, the answer to that question is to not make eye contact. However, if you have a fun song that has spunk and character, do look at your audience. Songs that address your invisible scene partner are best directed to that imaginary partner on the wall directly in front of you. Because you’re pretending that you’re talking to that scene partner, you want to look at them as if they’re in the room with you, but not stare at them. When you have a conversation with someone, you look at that person and then look away, but you don’t stare at them. You don’t want to stare at the wall when you sing your song at your audition.
假设你试镜的选角导演坐在试镜室靠近墙中央的位置,你的目光应该集中在他左右两侧几英尺的地方(可能不止一个人)。大多数表演老师都会建议你把目光集中在墙上的某个点,这样试镜时就不会出现奇怪的身体角度。这在训练初期是个好建议。随着你逐渐适应不同的专注方式和多任务处理,你就可以拓宽你的专注范围。
Assuming that the casting director for whom you’re auditioning is sitting near the middle of one wall in the audition room, focus your eyes a few feet on either side of them (there may be more than one person). Most acting teachers tell you to keep your eyes centered in one spot on the wall so that you don’t have any odd body angles in an audition. That’s good advice in the beginning of your training. As you get more accustomed to different kinds of focus and multitasking, you can widen your focus.
做好试镜的心理准备意味着做好充分的准备工作(练习、准备头像和简历、研究试镜内容等等),并想象自己在试镜中取得成功的场景。你需要做好心理准备,因为成功意味着在压力下表现出色。心理准备和歌喉准备同样重要。阅读第19章,了解如何应对表演焦虑。
Being mentally prepared for an audition means doing your preparation work (practicing, preparing your headshot and resume, researching the audition, and so on) and visualizing yourself successful at the audition. You want to mentally prepare for success because with success comes the responsibility of performing well under pressure. Mentally preparing is as important as preparing your singing voice. Check out Chapter 19 to help with performance anxiety.
第 5 部分
Part 5
在本部分中……
IN THIS PART …
第21章
Chapter 21
本章内容
IN THIS CHAPTER
赞扬歌手的多才多艺和广度
Crediting singers with versatility and range
见见我最喜欢的几个人
Meeting a few of my favorites
哪些歌手的演唱技巧出色?一些优秀的歌手拥有出色的演唱技巧,而另一些优秀的歌手仍在不断磨练。看看这份十位歌手的名单,看看我是否列出了你最喜欢的。这份名单涵盖了流行摇滚、乡村音乐、音乐剧、R&B 和古典音乐等多种音乐类型。
Which singers have good technique? Some great performers have great vocal technique, and some great performers are still working on theirs. Check out this list of ten singers to see whether I list your favorite. You find pop-rock, country, musical theater, R&B, and classical music performers on this list.
这十位歌手展现了我在章节中描述的声音,从假声、口哨声到混音、头声和腰带声。我列出了每位歌手的具体声音供您参考。聆听他们的官方视频、录音以及现场表演,了解他们在现场表演中展现的技巧水平。聆听这些歌手的表演,有助于您识别与章节中描述技巧的词语以及在线曲目中歌手相关的声音www.dummies.com/go/singingfd3e。这些歌手还能够融合他们的技巧和风格,轻松地在不同的声音之间来回切换。
These ten singers demonstrate the sounds I describe in the chapters from falsetto and whistle to mix, head voice, and belt. For each singer, I list the specific sounds for you to examine. Listen to their official videos and recordings as well as live performances to hear the level of technique they bring to their live performances. Listening to these singers helps you identify the sounds associated with the words describing technique in the chapters and the singers on the online tracks at www.dummies.com/go/singingfd3e. These singers also are able to merge their technique and style to easily maneuver back and forth between diverse sounds.
虽然我把拥有高超演唱技巧的歌手数量限制在十位,但可以肯定的是,真正拥有高超演唱技巧的优秀歌手的数量要多得多。这份名单兼收并蓄,恰恰表明优秀的演唱技巧可以跨越风格、性别、年龄、种族和歌曲的界限。
Although I limit the number of singers with great vocal technique to ten, you can be sure that the true number of wonderful singers with great technique is much higher. The eclectic nature of this list just goes to show that good technique crosses the lines of style, gender, age, race, and song.
古巴女高音歌唱家西奥玛拉·阿尔法罗(Xiomara Alfaro)也被亲切地称为“歌声中的夜莺”。她最著名的歌曲,由埃内斯托·莱库奥纳(Ernesto Lecuona)演唱的《西波涅》(Siboney),是头声主导型演唱的大师级作品。仔细聆听,乍一听像是头声,但音色却富有深度,因为她将胸声融入其中。聆听她歌剧般的训练,感受高音部分的流畅。她的歌曲《玫瑰月》(Luna Rosa)展现了她敏捷的演奏技巧和始终如一的颤音。她运用清晰的吐字、断奏和音符间的滑音,营造出轻快的旋律,使旋律流畅。在《马拉加尼亚》(Malagueña)中,聆听她滚动R音,并以活力四射和犀利的嗓音演绎交替音程的旋律。她接受过歌剧般的训练,但她在头声中运用了层次丰富的深度,并保持共鸣向前,而不是像歌剧演员演唱古典音乐时那样让它后退。她的名声表明,在合适的素材上发力是令人振奋的。如果你是一位头声强劲的歌手,她就是你的灵感来源。
Cuban soprano Xiomara Alfaro was also affectionately known as The Nightingale of Song. Her most famous song, “Siboney” by Ernesto Lecuona, is a masterclass in head voice–dominated sounds. Listen to the sounds carefully to hear what may at first sound like head voice, but the tone has depth because she incorporates chest voice into the mixture. Hear her operatic training coming through the runs on the higher notes. Her song “Luna Rosa” shows her agility as well as her consistent vibrato. She plays with articulation, uses staccato, and slides between notes creating a lilting feeling to keep the melody moving. In “Malagueña” hear her rolling her R and running through the melody of alternating intervals with spunk and sass. She has operatic training, but she uses layers of depth in her head voice and keeps the resonance forward instead of allowing it to fall back like an opera singer would do if singing classical music. Her fame shows that working on her strength in the right material is electrifying. If you’re a singer who has a strong head voice, she’s an inspiration.
男高音胡安·迭戈·弗洛雷斯(Juan Diego Flórez)对歌唱充满热情,并用整个身体来发声。不妨看看他的现场表演视频。他似乎快要飘起来了,因为他太渴望发出声音了。他弹吉他和演唱民歌,例如托马斯·门德斯(Tomás Méndez)的《Cucurrucucú Paloma》,就像他演唱《军中女郎》(La Fille du Regiment)中带有夸张高音(你数过九个高音C吗?)的华丽咏叹调,以及在《塞维利亚理发师》 (Il Barbiere di Siviglia)中展现的华丽敏捷的《Ecco, ridente in cielo》一样得心应手。
Tenor Juan Diego Flórez brings great passion to his singing and uses his whole body to create sound. Look for evidence in the videos of his live performances. It looks as if he is about to levitate because he’s so eager to make the sound. He seems as comfortable playing guitar and singing folk songs such as “Cucurrucucú Paloma” by Tomás Méndez as he’s singing his florid arias such as “Ah! Mes amis’” from La Fille du Regiment with outrageous high notes (did you count nine high Cs?) to his florid agility in “Ecco, ridente in cielo” from Il Barbiere di Siviglia.
其古典音色源于其对颤音的持续运用,长乐句直至乐句结尾音色均匀,共鸣集中在头部口腔和喉咙内部,没有直音,乐段的演唱遵循乐谱或音乐风格的标准,以及真实的头声,没有胸声的喧宾夺主。更多关于这首秘鲁佳作的信息,请访问www.juandiegoflorez.com。
What makes the sound classical is the consistent use of vibrato, long phrases with an even tone to the very end of the phrase, resonance that is focused inside the head in the mouth and throat, no straight tone, runs that are sung as written on the page or adhere to a standard in the style of music, and true head voice tones without chest voice taking over. Find more information about this Peruvian gem at www.juandiegoflorez.com.
Lady Gaga 成名的原因有很多:唱歌、创作、表演,以及她在舞台内外的非凡个性。她多元化的演唱风格体现在她的爵士乐专辑《Bang Bang》中,她她运用了对比鲜明的声音,从轻柔的耳语到以胸声为主的、在高潮部分具有强烈共鸣的声音。听听她与托尼·班内特一起演唱的《But Beautiful》,她以头声为主。她在电影《一个明星的诞生》中,胸声的深度和多样性值得称赞。
Lady Gaga has made a name for herself for so many reasons: singing, songwriting, acting, and her larger-than-life persona on and off the stage. Her diverse singing style shows through her jazz recordings such as “Bang Bang” where she uses contrasting vocal sounds from soft whispers to chest voice–dominated sounds with high resonance in the climax. Listen to her head voice–dominated sounds singing “But Beautiful” with Tony Bennet. She deserves a shout out for her depth and variety of sounds in chest voice in the movie “A Star is Born.”
她在《La Vie en Rose》和《Shallow》中展现了胸腔共鸣的复杂层次,而在《I'll Never Love Again》中,她展现了将胸腔共鸣轻松带入头声领域的能力。听听她录制的《Heal Me》中以头声为主的混音示例,以及《Before I Cry》中较重的胸腔共鸣与轻柔的混音交替出现,并伴有强烈的共鸣。她完全可以一直用较重的胸腔共鸣,但她选择通过叠加胸腔共鸣的重量来丰富人声。Go Gaga!快来看看吧www.ladygaga.com。
She demonstrates complex layers in her chest voice in “La Vie en Rose,” “Shallow,” and in “I’ll Never Love Again” she showcases her ability to carry an ease of chest voice way up into head voice territory. Listen to her recording of “Heal Me” for examples of head voice–dominated mix and “Before I Cry” to hear heavier chest voice sounds alternating with light mix with high resonance. She could easily just push heavy chest voice all the time, but she chooses to layer the weight of chest voice for vocal variety. Go Gaga! Check out www.ladygaga.com.
艾迪·肯德里克斯是一位混音大师。他与诱惑乐队(Temptations)合作演唱了《You're My Everything》。这张20世纪60年代的录音展现了他精湛的混音技巧、假声以及将胸腔共鸣从上到下流畅地融入声音的能力。他轻松地在直音和颤音之间切换。《Keep on Truckin'》展现了他精湛的混音技巧,其中有几种刻意制造的沙哑音色;《Intimate Friends》则使用了大量的混音;《Can I》的现场录音和录音棚录音也同样展现了他娴熟的混音技巧,这证明了他的技术扎实,并非由音响师精心雕琢。肯德里克斯在自动调音出现之前就已经在演唱。不妨看看这位混音大师的作品,从中汲取灵感,探索你的混音之路。
Eddie Kendricks is a mix master. With the singing group, Temptations, he sings “You’re My Everything.” The 1960s recording shows his superb mix, falsetto, and his ability to blend chest voice into the sound smoothly from top to bottom. He easily moves back and forth between straight tone and vibrato. “Keep on Truckin’” shows his use of mix, with several purposeful scratchy sounds, “Intimate Friends” uses a truckload of mix, and live or studio recordings of “Can I” show the same ease of mix proving that his technique was solid and not crafted by a sound engineer. Kendricks also was singing in the days before autotune. Check out this mix master for inspiration as you explore your mix.
巨星布鲁诺·马斯展现出多样的声音,每首新歌都愈发精妙。听听《Talking to The Moon》和《Locked Out of Heaven》,你会发现音域(歌曲中大部分音符所在的位置)有多高。他让这首歌听起来轻松自如。在《When I Was Your Man》中,他展现了假声和混音的技巧,并将其与更多胸腔共鸣的声音进行对比,呈现出巨大的多样性。
Megastar Bruno Mars shows diverse sounds that keep getting better with each new song. Listen to “Talking to The Moon” and “Locked Out of Heaven” and notice how high the tessitura is (where most of the notes in the song lie). He makes it sound like it is easy-peasy. He demonstrates his skill with falsetto and mix in “When I Was Your Man” and then contrasts that with much more chest voice in the sound for huge diversity.
他的吐字清晰,但吐字不够准确,甚至让人察觉不到。在《Just The Way You Are》中,他巧妙地运用了重复单词的重音,并在重读辅音时展现出玩味的风格。他展现了高音的魅力,即使那些音符位于五线谱的最高音,听起来也像是在用音高说话。了解更多关于他的信息,请访问www.brunomars.com。
His articulation is clear but not so properly enunciated that you even notice. In “Just The Way You Are” he has fun with accents on repeated words and shows playfulness in the way he accents consonants. He shows off high belt, and it just sounds like he’s talking on pitch even though those notes are at the top of the staff. Find more about him at www.brunomars.com.
自从很久以前第一次听到Minnie Riperton的声音,我就爱上了她。她的歌声总是温柔得令人沉醉,让你意犹未尽。不妨听听她正式录制的《Loving You》,感受她那非凡的口哨音域飞扬的魅力。口哨音如夏日里的蝴蝶般飞舞,紧接着是极高的头声。她的歌曲《Back Down Memory Lane》展现了她更加饱满的音色,与口哨音域中持续的高亮音形成鲜明对比。
I have loved Minnie Riperton’s voice since the first time I heard her ages ago. Her singing always has a gentleness that draws the listener in and leaves you wanting more. Look for her official recordings of “Loving You” for her remarkable ability to fly up into whistle register. Whistle notes come flying out like butterflies on a summer day, followed by super high head voice notes. Her song “Back Down Memory Lane” shows more fullness in her tone that contrasts with sustained high light tones in whistle register.
聆听她头声和哨音区最高音之间的区别。你能听出两者之间的区别吗?哨音区的音符在她脑海里感觉很小,但听起来却很大。《Inside My Love》以头声为主的自由式即兴重复乐段开始,随着歌曲的进展,她逐渐增加了音色的深度。她还使用了直音和气息声,这两者都是这种音乐风格的典型特征。《Baby, This Love I Have》展示了她更多的胸声和腰带。你可以从头到尾听出她的女高音特质,因为无论音符多高,对她来说听起来都很轻松。她的即兴重复乐段流畅,她很容易就上升到头声。赞!感谢您提供的多样化技巧的精彩示例。
Listen for the difference between her head voice and the highest notes in her whistle register. Can you hear the difference between the two? The whistle register notes feel very small in her head, but they sound big. “Inside My Love” starts with freestyle riffs in a head voice–dominated mix, and she gradually adds more depth in the tone as the song progresses. She also uses straight tone and breathy sounds both typical for this style of music. “Baby, This Love I Have” shows her belt with more chest voice in it. You can hear her soprano quality throughout because the notes, no matter how high, sound easy for her. Her riffs are fluid, and she easily ascends into head voice sounds. Kudos! Thank you for the fabulous examples of diverse technique.
人们唱歌的原因是因为它有趣,能带来快乐。乌克兰约德尔调歌手索菲亚·什基琴科就是一个很好的例子,她掌握了一门特殊的技巧,并愿意与世界分享。从她小时候在电视节目《乌克兰天才》中录制的早期视频,到她现在作为约德尔歌手和歌手录制的歌曲,她的约德尔调唱功都令人叹为观止。
The reason people sing is because it’s fun and brings joy. Ukrainian yodeler Sofia Shkidchenko is a great example of someone who has mastered a specific technique and wants to share it with the world. Her yodeling ability is off the charts starting from her earliest videos as a kid on the television show, Ukraine Has Talent to her current recordings as a yodeler and belter.
看看她唱一些有趣的声音,在胸声和头声之间切换,就像做三明治一样简单。从童年到最近的视频,追踪她的演唱技巧表明,她的技能随着年龄的增长而不断提高。伙计们,不要感到被冷落。在搜索引擎中输入“Auf und Auf Voll Lebenslust”,即可听到索菲亚的约德尔唱法,以及许多男性的约德尔唱法和从胸声到假声的转换。第 11 章介绍了男性在假声和假声之间切换音域,但女性也可以从胸声转换到头声,而索菲亚让胸声听起来轻而易举。
Check her out for some fun sounds flipping between chest voice and head voice like it’s as easy as making a sandwich. Tracking her from childhood to her recent videos shows that her skill just keeps on getting better with age. Guys, don’t feel left out. Type in “Auf und Auf Voll Lebenslust” in your search engine to hear Sofia yodeling as well as plenty of men yodeling and flipping from chest into falsetto. Chapter 11 has information about men flipping registers in and out of falsetto, but women can make the same flips from chest voice to head voice, which Sofia makes sound as easy as pie.
梅丽尔·斯特里普是家喻户晓的演员,但她用歌声创造多样化声音的能力使她成为此名单的完美补充。她可以轻松地在电影《来自边缘的明信片》中演唱摇滚乐曲,例如“I'm Checking Out” ,并在电影《走进森林》中出色地扮演女巫,但她对多样化声音最精彩的例子是她在同名电影中对弗洛伦斯·福斯特·詹金斯的演绎。即使您对歌剧演唱一无所知,只要听她扮演弗洛伦斯一会儿,您就会意识到唱得那么糟糕并且唱得那么好是多么困难。唱歌总是跑调并且错过高音需要技巧。听听斯特里普(或弗洛伦斯·福斯特·詹金斯)演唱《魔笛》中夜后咏叹调“Der Hölle Rache”的录音,试着表达出你是如何知道她唱错了的。她做了什么让声音如此不一致?这对于耳朵来说是一项很好的锻炼,可以辨别出歌声中哪里不对劲——故意不对劲。
Meryl Streep is well known as an actor, but her ability to create diverse sounds with her singing voice makes her a perfect addition to this list. She easily belts out rock tunes such as “I’m Checking Out” in the movie Postcards from the Edge and excels as the witch in the movie production of “Into the Woods,” but her finest example of diverse sounds is her portrayal of Florence Foster Jenkins in the movie of the same name. Even if you know nothing about operatic singing, just a few moments of listening to her portray Florence makes you realize how hard it would be to sing that badly and do it so well. To sing so consistently off pitch and miss the high notes took skill. Listen to the recordings of Streep (or Florence Foster Jenkins) singing the Queen of The Night aria “Der Hölle Rache” from The Magic Flute (Die Zauberflöte) and try to articulate how you know she is off. What is she doing to make the sound so inconsistent? It’s a great workout for the ears to identify what is off about the singing — off on purpose.
乡村歌手乔什·特纳以其低沉的嗓音以及在歌曲中展现这种深度的能力而闻名。他的吐字清晰,低音精准,高音也驾轻就熟,并运用这种音域的对比来讲述故事。聆听《Your Man》,感受他在讲述与女友独处时光时对低音的运用。在《Why Don't We Just Dance》中,你可以听到他轻松流畅地跃升至高音区,在一首歌中,你还能同时听到他男中音和低音部分的音色。
Country singer Josh Turner is known for his deep voice and his ability to highlight that depth in his songs. His articulation is clear, he nails the low notes, seems comfy singing higher notes, and uses this contrast of range as a means to tell a story. Listen to “Your Man” to hear his use of lower notes when he’s talking about being alone with his girl. In “Why Don’t We Just Dance,” you hear big leaps into his higher range that sound easy, and in one song you hear both the baritone and the bass side of his voice.
他以一段急促的嗓音开始演唱《Firecracker》,并运用声调的变化来讲述故事。他通过在演唱过程中变换元音和音形来强调关键词,这是一种常见的风格选择 —— 古典歌手会努力在发出音色之前保持元音的音形不变。他还会在辅音上加重音,以帮助听众理解故事的趣味。他唱了一个长乐句,但这与古典歌曲中的连奏不同。古典乐句的音色贯穿始终,但这首乡村歌曲的乐句听起来像是对话,并没有试图让每个音符听起来都一样。在《Forever And Ever, Amen》中,你更多地听到的是他男中音部分而不是男低音部分。有关特纳的更多信息,请访问www.joshturner.com。
He begins “Firecracker” with a vocal fry and uses vocal inflections that help tell the story. He emphasizes operative words by playing with the vowels and changing the shape as he sings them, a common stylistic choice — a classical singer strives to keep the same shape of the vowel until the release of the tone. He also puts accents on consonants to help you follow the fun of the story. He sings a long phrase, but it’s different from a legato line in a classical song. A classical phrase has a consistent tone throughout the line, but the phrasing in this country song sounds conversational without trying to make each note sound the same. In “Forever And Ever, Amen” you hear the baritone side of his voice more than the bass. Find more about Turner at www.joshturner.com.
科尔姆·威尔金森 (Colm Wilkinson) 于 1985 年在伦敦原版《悲惨世界》中演唱,他演绎的《带他回家》 (Bring Him Home) 是男声混音的最佳范例之一。他在这首歌中从假声到混音再到高音的流畅转换,堪称大师级的技巧。他运用歌声中这些不同的音色来讲述一个故事。在皇家阿尔伯特音乐厅十周年音乐会的现场演出中,《独白》展现了他流畅的吐字和持续超高的音高。
Colm Wilkinson sang in the original London cast of “Les Misérables” in 1985, and his rendition of “Bring Him Home” is one of the finest examples of mix for the male voice that you’ll hear. His ability to float from falsetto to mix to belt in this song is a masterclass in technique. He uses these diverse sounds of the singing voice to tell a story. “Soliloquy” shows his facile articulation and his super high sustained belt in a live performance for the Tenth Anniversary Concert at Royal Albert Hall.
《化身博士》(Jekyll & Hyde)中的《Till You Came Into My Life》展现了他嗓音截然不同的一面,音色更明亮,音色更持久,音带更高,颤音也更丰富。2007年,他现场录制《耶稣基督超级巨星》(Jesus Christ Superstar )中的《客西马尼》(Gethsemane)时,他的技术依然十分精湛,这首杰作需要扎实的技巧。你也可以找到其他录音,但他精湛的混音技巧才是他与其他歌手的真正区别。了解更多关于这位杰出表演者的信息,请访问www.colmwilkinson.com。
“Till You Came Into My Life” from Jekyll & Hyde shows a very different side of his voice with brighter timbre, more sustained tones, higher belt, and more vibrato. His technique was still going strong in 2007 when he recorded “Gethsemane” from Jesus Christ Superstar live, a tour de force piece requiring rock solid technique. You can find other recordings, but his superb demonstration of mix is what sets him apart from other singers. Read more about this terrific performer at www.colmwilkinson.com.
第22章
Chapter 22
本章内容
IN THIS CHAPTER
即使你是女高音,也要高声歌唱
Belting out a tune even if you’re a soprano
唱歌前吃点东西喝点水
Eating and drinking before you sing
如果你不知道某个问题的答案,那它不是一个愚蠢的问题。大多数新歌手都会问同样的问题,所以我整理了十个关于唱歌的常见问题的答案。阅读以下问题及其答案,对你的歌唱有所帮助。这些答案或许能启发你向声乐老师询问本章未涵盖的其他问题。
If you don’t know the answer to a question, then it’s not a stupid question. Most new singers ask the same questions, so I’ve compiled the answers to ten frequently asked questions about singing. Read through the following questions and their answers to help with your singing. The answers may inspire you to ask your voice teacher other questions that aren’t covered in this chapter.
如果唱得正确,高声演唱对你来说并不坏,女高音当然也能唱得好。事实上,女高音通常比女中音更容易唱出高声演唱。如果你用厚重的胸腔嗓音,在你的音域高处发出高声演唱,那么高声演唱对你来说就不好。请参阅第13章,了解如何运用你的说话嗓音和创造健康的高声演唱。你还可以在线上听到歌手们示范健康的高声演唱。
Belting isn’t bad for you if you do it right, and sopranos can certainly belt. In fact, sopranos often have an easier time with belting than mezzos. Belting is bad for you if you use heavy chest voice high in your range to create the belt sound. Check out Chapter 13 for information about working with your speaking voice and creating a healthy belt sound. You can also hear singers on the online tracks demonstrate healthy belting.
很多因素都可能导致你的声音听起来不太好。请考虑以下三种可能性:
Plenty of factors can cause your voice to sound less than its best. Consider three possibilities:
睡眠不足会导致你的声音迟钝,反应迟钝。试镜前一天或试镜当天唱歌过多也会导致你的声音疲劳。更多关于如何保持健康嗓音的信息,请参阅第23章。
你的歌唱肌肉就像你身体里的其他肌肉一样。锻炼是可以的,但锻炼后需要休息。
Not getting enough sleep can cause your voice to feel sluggish and not respond as easily as it normally does. Singing too much the day before or the day of an audition also can cause your voice to get tired. See Chapter 23 for more information about maintaining a healthy voice.
Your singing muscles are like other muscles in your body. Working out is just fine, but they need a rest after the workout.
如果您的声音沙哑、气音重、刺耳、闷闷不乐、像呼噜一样或有任何其他异常,请首先阅读第 6 章中有关声调起始的内容。如果在处理声调起始之后,您的声音仍然不清楚,请花些时间阅读第 13 章中有关健康说话习惯的内容。如果您在滥用说话声音,您可能还会更加努力地让您的歌声发出优美的声音。沙哑的声音通常是由于某种方式滥用歌唱声音或说话声音造成的。药物可能会导致您的喉咙干燥和刺耳。您可以阅读第 23 章,了解有关药物及其对歌唱声音的影响的更多信息。气音通常表明声带没有完全闭合,并且允许太多空气逸出。刺耳的声音通常是由于物理压力过大或共鸣器中的声音平衡不够造成的。尝试第 4 章和第6 章中的打开喉咙的练习,感受额外物理压力的释放。低沉或嘶哑的音色通常是由于没有发出特定的元音,或者共鸣声在喉咙后部太深而造成的。请阅读第8章关于元音及其形状的内容,然后阅读第5章和第6章,以获得一些关于音色的帮助。
If your voice is husky, breathy, strident, muffled, hooty, or off in any other way, first read about onset of tone in Chapter 6. If after working on onset of tone your voice still isn’t clear, take some time to read about healthy speaking habits in Chapter 13. If you’re abusing your speaking voice, you may also be making your singing voice work much harder to produce gorgeous sounds. Husky tones usually result from some sort of abuse of the singing voice or the speaking voice. Medications may cause your throat to be dry and scratchy. You can read Chapter 23 for more information about medications and their effect on the singing voice. Breathy tones usually indicate that the cords aren’t closing completely and are allowing too much air to escape. Strident tones typically result from too much physical pressure or not enough balance of sound in the resonators. Try the exercises in Chapters 4 and 6 on opening the throat to feel the release of the added physical pressure. Muffled or hooty tones usually come from not making specific vowels or allowing the resonance to live too far in the back of your throat. Read Chapter 8 on vowels and the shape of vowels, and then read Chapters 5 and 6 for some help with tone.
有三位专家可以帮助您准备歌曲或提升演唱技巧。他们各有专长,优势各异;继续阅读,了解哪一位适合您:
Three specialists can help you prepare your song or help you with singing technique. They have different skills and strengths; read on to figure out which one is right for you:
钢琴师或伴奏者是指为你弹奏钢琴练习唱歌,但不提供唱歌技巧建议的人。伴奏者可以成为你试听新买的乐谱或为演出练习的宝贵资源。他们的优势在于高超的钢琴技巧。
伴奏者(accompanist)这个词经常被念错。正确的发音是 uh -kum- puh-nist——这个词里没有“knee”。
A pianist or accompanist is someone who plays the piano for you to practice singing but doesn’t offer advice on singing technique. An accompanist can be a valuable resource for trying out that new sheet music you purchased or practicing for a performance. Their strength is great piano skills.
The word accompanist is often mispronounced. The correct pronunciation is uh-kum-puh-nist — there’s no “knee” in the word.
你的声音必须承受相当长时间的“虐待”才会出现结节(声带上形成的小茧)。例如,你不会仅仅因为为你最喜欢的球队呐喊一天就患上结节。你的声带第二天可能会肿胀或感到不适,但你必须长时间地“虐待”你的嗓子才会出现结节。(有关“虐待嗓子”的信息,请参阅第23章。)
Your voice has to take quite a bit of abuse for you to get nodes (small calluses that form on the vocal cords). For example, you can’t get nodes from yelling for your favorite team for only one day. Your cords may swell or feel uncomfortable the next day, but you have to abuse your voice for a longer period to develop nodes. (See Chapter 23 for information on vocal abuse.)
你的声音大小与你的腰围无关。如果相关,那么所有伟大的歌手都会身材魁梧,每个大个子的人都会是伟大的歌手。事实上,腰部多余的脂肪会使你更难移动身体来呼吸。如果你习惯了这种移动,那就不是问题。喉咙和头部的大小对你的声音的影响比你的腰围更大。宽脖子意味着你的声带比窄脖子的人更长。窄脖子意味着声带更短;窄脖子的歌手通常嗓音较高。更大的头部意味着声音有更大的反弹空间。一种尺寸并不比另一种更好,但它们却使得声音之间产生了令人兴奋的差异。
Your voice size isn’t related to your waistline. If it were, all great singers would be big and every large person would be a great singer. Actually, having extra weight around the middle makes it harder to move your body to breathe. If you’re used to that movement, it’s not a problem. The size of your throat and head make a bigger difference in your voice than your girth. A wide neck means your vocal cords are longer than someone with a narrow neck. A narrow neck means shorter vocal cords; singers with narrow necks are often the higher voice types. A larger head means more space for the sound to bounce around. One size isn’t better than another, but they make for exciting differences between voices.
最适合你的才是最好的歌唱方法。你会发现有些歌手和老师会毫不犹豫地推荐他们的方法,声称“这是最好的”。但只要这个方法能让你掌握呼吸和气息管理、音色和共鸣、让你的发音清晰而不紧张的发音,以及良好歌唱的一般原则,那么它就是好方法。我的教学方法是我所有师从的老师的综合。
The best singing method is the one that works best for you. You can find singers and teachers who are quick to recommend their method, claiming, “It’s the best.” But as long as the method introduces you to breath and breath management, tone and resonance, articulation that allows you to be understood without causing tension, and the general principles of good singing, then it’s a good method. My method of teaching is a combination of all the teachers I’ve studied with.
说意大利语不会对任何人造成伤害,只会提升你的歌唱水平。意大利人多年来一直唱得非常动听,他们是伟大的榜样。然而,意大利人并非唯一能唱出美妙歌声的人。音乐厅。每个国家的歌手都能唱得很好。享受你的母语,无论它是什么,尽情歌唱。老师们经常推荐意大利语歌曲,因为他们长期以来一直使用意大利艺术歌曲教授歌唱,而且意大利语中的元音较少,更容易学习精确的元音发音。
Speaking Italian never hurt anyone and can only enhance your singing. Italians have been singing beautifully for many years and those singers are great role models. However, Italians aren’t the only people making beautiful sounds in the concert halls. Singers of every nationality can sing well. Enjoy your native tongue, whatever it is, and sing your little heart out. Teachers often recommend Italian songs because they have a long history of teaching singing using Italian art songs, and the Italian language contains fewer vowel sounds, making it easy to learn precise vowel production.
第19章提供了一些应对表现焦虑的技巧。你可能会发现这些技巧非常有效,以至于你会爱上肾上腺素(紧张),并期待自己的表现。
Chapter 19 has some tips for dealing with performance anxiety. You may find those tips so helpful that you grow to love adrenaline (nerves) and look forward to your performance.
冰淇淋会导致痰和黏液积聚。黏液很浓稠,会让你想清嗓子。除非你不介意乳制品,否则我建议你在唱歌前避免食用冰淇淋和任何其他乳制品。练习结束后,赶紧冲到冰淇淋店买点东西。
Ice cream causes phlegm and mucus to build up. That mucus is thick and makes you want to clear your throat. Unless dairy products don’t bother you, I recommend avoiding ice cream and any other dairy products before singing. Make the mad dash to the ice cream store after practicing.
其他歌手可能会建议你喝柠檬水或果汁来清洁喉咙。如果你想在练习的日子尝试一下,这不会有什么坏处。事实上,柠檬水有很多健康益处。
Other singers may tell you to drink water with lemon or fruit juice to clean out your throat. It won’t do any harm if you want to try it on a day you’ll be practicing. In fact, lemon water has plenty of health benefits.
好问题——我无法一概而论地给你答案。如果你对唱歌一无所知,而且这本书里的信息对你来说都是全新的,那么经过几周的持续练习,你就会开始感受到进步。你可能还没有准备好在格莱美奖上首次亮相,但你会感受到你的音色和不同音域转换能力的提升。(更多关于声部的信息,请参阅第11章。)
Great question — and I have no blanket answer to give you. If you know nothing about singing and the information in the book is all new to you, you’ll start to hear improvement after a few weeks of consistent practice. You may not be ready for your debut at the Grammy Awards, but you’ll hear improvement in your tone and your ability to transition between registers of your voice. (See Chapter 11 for more information on vocal registers.)
从基础水平到中级水平的歌唱需要大约六个月到一年的持续练习。与其他运动一样,持续的重复练习可以培养肌肉记忆。篮球运动员每次训练都会进行训练。他们会跑几圈来增强耐力,并进行各种协调性训练。你的歌唱练习课程需要包含练习和练习(你在书中看到的那种练习),以提升你的技能和协调性。大多数初学者在压力下大约能保留50%的技巧。你需要不断练习你的技巧,直到它变得扎实,这样你在压力下的技巧保留率才能达到更高的水平。中级歌手在一场演出中可以发挥出他们大约75%的潜力。
Moving from a basic level to an intermediate level of singing takes about six months to a year of consistent practice. As with other sports, the consistent repetition develops muscle memory. Basketball players execute drills every practice. They run laps to build stamina and practice all kinds of coordination drills. Your singing practice session needs to include drills and exercises (the kind of exercises you see throughout the book) to develop your skill and coordination. Most beginners can expect about 50 percent of their technique to stay with them under pressure. You want to work on your technique until it’s solid so that your percentage of skill under pressure reaches a higher level. Intermediate-level singers may achieve about 75 percent of their potential during a performance.
高级歌唱技巧需要多年才能培养——但你不必灰心。伟大的运动员在他们的职业生涯中都会持续练习和提升自己的技能。练习得越多,你就能把更多高水平的练习添加到你的日常训练中。
Advanced singing takes years to develop — but that fact shouldn’t discourage you. Great athletes continue to practice and develop their skills long into their careers. The more you practice, the more advanced level of exercises you can add to your routine.
第23章
Chapter 23
本章内容
IN THIS CHAPTER
用适合你声音的方式说话
Speaking in a way that’s good for your voice
弄清楚如何滋养你的声音
Figuring out how to nourish your voice
了解声音问题
Getting the lowdown on vocal problems
长期的嗓音损伤——任何导致嗓音紧张的活动——都会影响你的歌唱质量。而且你的声音可能无法完全恢复。虽然大多数歌手可以通过嗓音休息来最大程度地减少长期问题,但你仍然需要避免持续的嗓音损伤。现在就把嗓音健康放在首位。
Long-term vocal abuse — any activity that causes strain on your voice — can change the quality of your singing. And your voice may not always be able to repair itself. Although most singers can minimize long-term problems with vocal rest, you need to avoid continued vocal abuse. Make your vocal health a priority now.
以下列表并非详尽无遗。您可能会发现其他一些因素会在一段时间内严重影响您的嗓音健康。务必在大型演出前识别并预防这些问题。尤其要记住以下这些常见的日常因素:
The following list is by no means all-inclusive. You may find other factors that greatly affect your vocal health over a period of time. Be sure to recognize problems and keep them at bay before a big performance. In particular, keep these common everyday factors in mind:
说话时的声音会直接影响你的歌唱。说话时好好照顾你的嗓子,就能确保你的歌唱嗓子更健康。(如果你错过了,第13章会讲到说话的声音。)不妨试试以下技巧,让你的说话习惯更健康:
Your speaking voice directly affects your singing. By taking good care of your voice while speaking, you ensure better health for your singing voice. (In case you missed it, Chapter 13 tells you about the speaking voice.) Try making your speaking habits more healthy with these tips:
长时间排练或一系列排练后感到疲劳是正常的。但如果你的声音没有恢复正常,唱歌也困难重重,那么问题可能就来了。如果你的声音感觉疲惫,原本清晰的音符现在变得模糊,音域变窄,或者即使充分热身后声音仍然感觉不正常,你可能需要先解决问题两周左右,然后再去看医生。
Being tired after a long rehearsal or after a series of rehearsals is normal. But a problem may be brewing if your voice isn’t returning to normal and you’re having trouble singing. If your voice feels tired, notes that used to be clear are now fuzzy, you’re experiencing a loss of range, or your voice doesn’t feel normal even after a good warm-up, you may want to problem-solve for about two weeks before you head to the doctor.
回到基础可能会帮助你意识到你在用力、呼吸不正确、唱歌时很紧张或者滥用你的说话声音。
Going back to the basics may help you realize that you were pushing, not breathing properly, singing with tension, or abusing your speaking voice.
如果复习了几周的基础知识却没有帮助,而且你的日常习惯也没有任何改变,那就去看医生。去看一位熟悉歌手的喉科医生或耳鼻喉科医生。这些医生会用微型高速摄像机检查你的喉咙,观察你声带的运动。他们可以告诉你问题的根源以及如何解决。他们还可以建议你在演出期间是应该取消还是放松一下。如果唱歌时感到疼痛、声音越来越嘶哑或者几乎发不出声音,你就需要取消。
If reviewing the basics for a couple of weeks doesn’t help and you haven’t changed anything in your routine, go see a doctor. Visit a laryngologist or an ENT (ear, nose, and throat doctor) who is used to working with singers. These doctors can look down your throat with a tiny high-speed camera and watch your vocal cords in motion. They can tell you the root of the problem and how to resolve it. They can also give you advice on whether you should cancel or just take it easy during the performance. You need to cancel if it hurts to sing, you get progressively more hoarse as you sing, or you can barely make any sound.
您的身体含有大量的水分,最高可达65%,而您歌唱能力的两个重要组成部分——肺和肌肉——都需要水分才能正常运作。您的肺依靠水分来维持组织顺畅运动,而肌肉组织75%的成分是水。因此,保持身体水分充足有助于您的歌唱嗓音更好地发挥作用。
Your body contains a large amount of water with ranges up to 65 percent, and two important components of your singing ability — your lungs and your muscles — need water to do their job. Your lungs depend on water to keep the tissue moving easily, and muscle tissue is made up of 75 percent water. So keeping your body well hydrated helps your singing voice work better.
除了水,你还可以通过补充水分来保持身体水分。不过,在喝汽水或咖啡之前,要意识到大多数饮料中的糖分会影响你的腰围,而咖啡因会使你脱水。咖啡因也是一种利尿剂,这意味着它会促使你的身体排出水分。你不能指望早上喝一杯咖啡就能保持嗓子正常工作。表演需要体力,而充足的水分能使身体保持最佳状态。
You can balance out your hydration with liquids other than water. Before you drink that can of soda or cup of coffee, though, realize that the sugar content in most drinks threatens your waistline and that caffeine dries you out. Caffeine also is a diuretic, which means that it makes your body get rid of water. You can’t rely on that morning cup of coffee to keep your voice in good working order. Performing requires physical stamina, and a well-hydrated body keeps the body functioning at its best.
睡眠不足会让你体内的组织——比如喉咙里的组织——无法得到修复。剥夺自己的睡眠只会让你的声音变得迟钝。如果你睡眠不足,你的声音和大脑反应会更慢,让你更难唱出最好的歌。唱较长的乐句需要更多努力,唱快音时你的声音会感觉沉重而不是灵活,而且更容易忘记下一个词。你可能晚上只睡几个小时就能活下来,但你的声音也只是勉强维持而已吗?你想要你的声音健康,而不仅仅是勉强维持。试着多睡几个晚上,看看这对你的歌唱是否有帮助。即使多睡一个小时,也会对你的组织产生很大的影响。你需要在夜间恢复和再生。
Not getting enough sleep doesn’t give the tissue in your body — in your throat — time to heal. Depriving yourself of sleep only makes your voice feel sluggish. If you’re sleep deprived, your voice and brain react more slowly, making it harder to sing your best. Singing longer phrases takes more effort, your voice feels heavy instead of agile when you sing the faster notes, and forgetting the next word is more likely. You may survive on just a few hours of sleep at night, but is your voice also just surviving? You want your voice to thrive, not just survive. Try getting more sleep for a few nights and see whether that makes a difference in your singing. Even one more hour can make a big difference to your tissues. You want to recoup and regenerate during the night.
你需要保持均衡的饮食。遵循基本营养指南意味着摄入均衡的全谷物、水果蔬菜和蛋白质。在均衡的饮食中,你会找到适量的蛋白质、碳水化合物和脂肪。你可能会发现唱歌需要更多的能量,这意味着你需要在饮食中添加蛋白质,以增强你的身体在长时间排练中维持体力的能力。
You need to maintain a balanced diet. Following guidelines of basic nutrition means getting a balanced amount of whole grains, fruits and vegetables, and protein. Within this balanced diet, you find proper amounts of protein, carbohydrates, and fats. You may find that singing requires more energy, which means adding protein to your diet to enhance your body’s ability to sustain you through long rehearsals.
虽然这可能不是你的个人问题,但身体太瘦或太胖可能会难以获得足够的体力来唱歌并维持更高的音色。确保定期补充营养以增强体力。许多歌手会等到很晚才吃东西,但你的身体需要一些东西来启动它。试着找到一个规律的饮食习惯,让你的身体能够间歇性地补充食物,以保持你的歌喉处于最佳状态。深夜吃零食或在晚上演出后吃一顿大餐可能会导致消化问题,例如胃酸反流,从而影响你的歌喉。注意一下吃过特定食物后你的声音是什么感觉,以及一天中哪些时间你的声音最容易达到最佳状态。
Though it may not be your personal issue, a body that is too lean or too heavy may have trouble finding the stamina to sing and sustain the higher pitches. Make sure that you’re regularly nourishing your body for stamina. Many singers wait until late in the day to eat, but your body needs something to get it started. Try to find a routine that enables you to get food in your body at intervals to keep your singing voice working at its best. Snacking late at night or eating a huge dinner after your evening performance may cause digestion problems like acid reflux that affect your singing voice. Notice what your voice feels like after eating specific foods and what times of day help your voice feel its best.
防止这些细菌进入身体的一个好方法是勤洗手,并且不要用手接触脸部。你妈妈告诉你要洗手——听听她的建议。如果细菌开始侵袭你,你感觉到引流处发痒,可以尝试以下方法之一:
A great way to keep all those germs out of your body is to keep your hands washed and away from your face. Your mom told you to wash your hands — listen to her advice. If germs do start to attack and you feel the tickle from drainage, try one of these options:
这种事总有发生的时候,所以你最好先了解一下自己的应对措施:你可能会感冒或喉咙痛,你必须知道如何应对。当你喉咙发痒时,可以参考以下建议:
It’s going to happen sometime, so you may as well know your options: You’re going to catch that cold or sore throat, and you have to know how to deal with it. Use this advice for when your throat feels scratchy:
服药期间要多喝水。大多数非处方药会导致口干。只要你做好应对这种副作用的准备,并补充水分,就不会感到意外。以下是三种常见感冒药的详细介绍:
演出或音乐会前不要尝试任何药物。提前尝试药物,了解身体的反应。
Drink plenty of water with your medications. Most over-the-counter medications dry you out. As long as you’re prepared for that side effect and compensate with extra fluids, you won’t be shocked. Read about the lowdown on three common cold medications:
Don’t experiment with any medications right before a performance or concert. Try out medications ahead of time to know how your body reacts.
以下是一些保护喉咙痛并使其快速愈合的简单方法:停止说话。即使喉咙痛,你可能很爱说话,也喜欢交流。但保持安静,让声音慢慢恢复,意味着不要说话、低声细语或用口型说话。低声细语时,声带仍然闭合。拿个记事本,写下你想说的话,或者发短信或邮件,直到你的声音恢复正常。听别人唱歌会让你的声带活动起来。试着听听器乐,直到你的声音恢复正常。
Here’s a short list of what to do to protect your sore throat so it heals quickly: stop talking. You may be gregarious and love to talk even when you have a sore throat. But being quiet and allowing the voice to heal means no talking, whispering, or mouthing words. When you whisper, your vocal folds still close. Get a notepad and write out what you need to say, or just text or email until your voice heals. Listening to people sing makes your vocal cords move. Try listening to instrumental music until your voice is back on track.
如果你想知道,哭泣对你的声音来说并非最佳选择。情绪释放带来的紧张和压力并不能真正让声带变得快乐。即使你的生活充满压力和忙碌,也要找到定期释放攻击性或压抑情绪的方法,这样你就不会把它们憋在心里。许多歌手走进门来学习,却因为悬在头顶的情感创伤而无法唱歌。可靠的朋友或知己是这些情绪的良好出口。你也可以用唱歌作为一种表达方式。如果你发现自己过于紧张和沮丧而无法唱歌,可以联系治疗师寻求帮助,这样你就可以无论顺境还是逆境都能继续唱歌。唱歌可以调动神经系统中帮助人们休息和消化的部分。享受你的歌唱练习,因为振动会帮助你的整个身体。
In case you’re wondering, crying isn’t the best thing for your voice. The tension and pressure from the emotional release doesn’t exactly make the cords happy little campers. Even if your life is stressful and hectic, find ways to release aggression or pent-up emotions regularly so you aren’t holding them inside. Many singers have walked in the door for lessons and were unable to sing because of emotional traumas hanging over their heads. Reliable friends or confidants make good outlets for those emotions. You may also use your singing as a means of expression. If you find yourself too tight and frustrated to sing, call a therapist for help so you can keep singing through the good times and the bad. Singing engages the part of the nervous system that helps people rest and digest. Enjoy working on your singing exercises knowing that the vibrations are helping your entire body.
第24章
Chapter 24
本章内容
IN THIS CHAPTER
选择合适的伴奏、服装和麦克风
Picking the right accompaniment, clothes, and mic
直视他们的眼睛:舞台表现
Looking ’em straight in the eye: Stage presence
了解在观众面前演唱时应如何表现至关重要。无论你是在卡内基音乐厅独唱,还是在印第安纳波利斯的才艺表演,亦或是与其他表演艺术家在当地复排的《西区故事》演出,抑或是在文艺复兴节,亦或是婚礼上,你都希望自己的表演能够给人留下深刻的印象。阅读这些技巧,了解表演的意义和方法。我会从最重要的事情开始,一直讲到你离开舞台的那一刻。
Knowing how to behave when you’re singing for an audience is important. Whether you’re singing solo at Carnegie Hall; at a talent show in Indianapolis; with other performing artists in a local revival of West Side Story; at a Renaissance festival; or at a wedding ceremony, you want to make the right impact with your performance. Read these tips for some answers on the why and how of performing. I start with first things first and proceed to your last exit off the stage.
如果你是一位经验丰富的专业人士,并且一直在独自练习,你可能不需要和伴奏者一起演唱。但是,我建议在演出前至少进行一次彩排和几次练习。在最初几次排练,你可以一边读谱一边唱歌。最后一次排练和带妆彩排时,背谱演唱。压力之下,歌词在短期记忆中消失的速度之快令人震惊。通过背谱排练,你将有更多机会在运用表演技巧的同时检验你精湛的演唱技巧。带妆彩排时,你还需要在演唱前练习一下台上走动,这样你就能了解爬上楼梯入场、绕着舞台走一圈或走过长长的走廊后,自己会感到多么疲惫。
If you’re a seasoned pro and you’ve been practicing on your own, you may not need to sing the music with an accompanist. However, I recommend at least one dress rehearsal and several more practice rehearsals before a performance. At the first couple of rehearsals, you can sing while reading from the music. For the last rehearsal and the dress rehearsal, sing the music from memory. Under pressure, it’s shocking how quickly the words leave your short-term memory. By rehearsing the song from memory, you get even more opportunities to test your wonderful technique while using your acting skills. At the dress rehearsal, you also want to practice walking onstage before your song so you know how winded you are after climbing up the stairs for your entrance, walking around the stage, or down a long hallway.
你可以独自排练,也可以和伴奏者、教练或声乐老师一起排练。(请参阅第 15 章,了解不同老师的区别。)排练时,给自己录个音。听几遍录音,适应不同大厅里你的声音。如果你在舞台上唱歌时把录音机放在观众席,录音听起来会更远——这就是观众听到的声音。你也可以用手机或平板电脑上的摄像头给自己录像。如果你决定录制排练,你需要多看几遍,习惯看着自己。你可以在家里尝试一下,而不是在彩排时才第一次尝试。前一天晚上调整得太晚了。尽早给自己录个音,这样你就可以进行调整。观看视频时,请检查你的站姿(参见第3章)、手势(参见第18章)以及你的入场姿势(请参阅本章后面的“入场姿势”部分)。你也可以查看第10章,了解更多关于为什么录制自己的动作很有用的信息。
You can rehearse alone with your track or with an accompanist, coach, or voice teacher. (See Chapter 15 for the differences among these types of teachers.) At your rehearsal, record yourself. Listen to the recording a couple of times to get used to the sound of your voice in the different hall. If you put your recorder in the audience while you sing on the stage, your recording will sound farther away — that’s the sound your audience will hear. You can also use your camera on your phone or tablet to video yourself. If you decide to video the rehearsal, you need to view the video several times to get used to watching yourself. You may want to experiment with this at home instead of trying it for the first time at the dress rehearsal. The night before is too late to change much. Record yourself earlier in the process so you can make adjustments. When you watch the video, check your alignment (see Chapter 3), gestures (see Chapter 18), and your entrance (refer to the section, “Making Your Entrance,” later in this chapter). You can also check out Chapter 10 for more info on why recording yourself is helpful.
如果你在音乐剧演出中演唱,那么在表演时你可能没有太多的选择。导演通常会为你决定,服装都是量身定制的。但如果你是婚礼上的独唱歌手,或者你刚刚在当地爵士乐队担任主唱,那么你表演时的服装可能会成就或毁掉你的夜晚。考虑一下你的服装是否会分散你或观众的注意力。响亮的珠宝可能与你的新衣服很搭,但如果你在移动时能听到它们,那就不要戴了。同样,厚底鞋可能很流行,但穿上它们你可能会失去平衡或双腿感到紧绷。细高跟鞋也很难驾驭,因为你可能要走很长一段路穿过舞台或爬上唱诗台。
You may not have much choice in what you wear when you perform if you’re singing in, say, a musical theater production. The director usually decides for you, and costumes are made to fit. But if you’re a soloist at a wedding or you just got a gig as a lead singer in a local jazz band, the outfit you wear for the performance can make or break your evening. Consider whether your ensemble may distract either you or your audience. Noisy jewelry may look really cool with your new outfit, but if you can hear it when you move, leave it at home. Likewise, platform shoes may be in, but maybe you feel off balance or your legs feel tight when you wear them. Spike heels are also tricky, because you may have a long walk across the stage or up to the choir loft.
短裙可能看起来很性感,但如果舞台比观众席高得多,观众也可能会瞥见你的内衣。除非你想让别人偷看那条性感的裙子,否则还是把这身行头留到演唱会后的派对上吧。同样,紧身材质的衣服在强光下会暴露出每一处瑕疵,在重要时刻到来时,每一滴汗水都会显露出来。
Short skirts may look sexy, but if the stage is much higher than the audience is, the audience may also get a glimpse of your undies. Unless you want someone to look up that sexy skirt, save that outfit for the after-concert party. The same is true for clingy materials that may show every little blemish under bright lights and every little drop of sweat when the big moment arrives.
演出前,请将口袋里那些容易发出噪音或体积大的物品取出,并摘掉手表和眼镜。在独奏音乐会上佩戴老花镜并不常见。请与你的指挥讨论你的选择——如果你不打算背诵歌曲,大字印刷版的乐谱也是一个选择。
Take the noisy or bulky items out of your pockets before a performance, and remove watches and glasses. Wearing reading glasses in a solo concert performance isn’t customary. Talk to your director about your options — a large print edition of the music is one option if you don’t plan to memorize the song.
知道站在哪里后,练习走到原地。这可能听起来很傻,但是知道如何走过舞台并落地并不像听起来那么容易。看起来像个专业人士需要一点思考和练习。即使你不能在舞台上练习,也要选择一个指定的落地点,练习走过房间来找到你的位置。你想要停在原地,但也要找到停下来时的姿势。找到你的身体对准点(见第 3 章),走过房间,并保持这个姿势。落地意味着到达你需要唱歌的方向,双脚平行且在臀部下方。在乐队中,你可以选择以更随意的姿势落地,这样你的双脚就会灵活并准备好跳舞。观察其他经验丰富的表演者,注意他们是如何登上舞台并落地准备唱歌的。
When you know where to stand, practice walking into place. This may sound silly, but knowing how to walk across the stage and land in place isn’t as easy as it sounds. Looking like a pro takes a bit of thought and practice. Even if you can’t practice on the stage, choose a designated landing spot and practice walking across the room to find your position. You want to stop in place but also find your posture as you stop. Find your alignment (see Chapter 3), walk across the room, and maintain that posture. To land in place means to arrive at your spot facing the direction you need to be singing with your feet parallel and under your hips. With a band, you may choose to land in a more casual stance so your feet are flexible and ready to groove. Observe other seasoned performers to notice how they enter the stage and land in place ready to sing.
用管风琴唱歌和用钢琴唱歌不一样。发声的管子通常不在管风琴控制台附近,而钢琴的声音则来自乐器的后部。管风琴的声音可能更难听清,这取决于演奏者使用的音栓。用管风琴唱几次之后,你就会习惯声音的差异。只要你更仔细地聆听,就不会感到惊讶了。
Singing with an organ is different from singing with a piano. The pipes that create the sound often aren’t near the organ console, whereas the sound from the piano comes out the back of the instrument. An organ may be harder to hear, depending on the stops the organist is using. After singing with an organ a few times, you get used to the difference in the sound. Just expect to listen more carefully, and you won’t be surprised.
第一次和乐队一起演唱也可能会有点困惑。如果扬声器背对着你——通常都是这样——你可能会听不清自己的声音。问问能不能把扬声器或监听音箱对着你。记住,乐队的演奏通常声音很大,把扬声器对着自己会形成一堵巨大的声墙。如果音量合适,监听音箱会很有帮助。如果你在监听音箱里听不到自己的声音,请咨询音响师。如果某种乐器演奏了你的旋律线,你可能需要习惯从其他乐器中辨别出这种乐器的声音。
Singing with a band can also be a bit confusing the first time. If the speakers are pointed away from you — and they usually are — you may have trouble hearing yourself. Ask whether it’s possible to have a speaker or a monitor turned toward you. Remember that bands often play pretty loudly, and turning the speaker toward yourself will unleash a huge wall of sound coming at you. Monitors are a great help if the volume is just right. Talk with the sound engineer if you can’t hear yourself in the monitor. If a specific instrument plays your melody line, you may have to get used to picking out that sound from all the other instruments.
有时乐队的乐器演奏者会在演奏时加入独奏。问问乐队指挥,你如何知道什么时候该回来。如果乐器演奏者开始加拍,你也可以请乐队成员在你该回来的时候向你点头示意。带上你的竖笛去排练是个好主意,这样你就可以录下来。如果你只有一次机会和乐队一起排练,你可以随时回顾你的录音,熟悉节奏。
Sometimes instrumentalists in the band add solos as they play. Ask the bandleader how you know when it’s time to come back in. You can also ask one of the band members to nod to you when it’s time for you to come in if the instrumentalists start adding extra measures. It’s a good idea to take along your recorder to the rehearsal so you can record it. If you get only one shot at rehearsing with the band, you can always review your recording to get used to the timing.
当你从门口或侧厅进入舞台时,看着观众并微笑。如果你在走过舞台时直视观众,你会显得更加自信。练习这一点很重要。即使你很紧张,不想上台,你的微笑也需要显得真诚。当你到达舞台上的位置时,原地停下来鞠躬。其他表演场所可能要求你表现得更低调一些。例如,在教堂礼拜中唱歌需要这与在流行音乐会上演唱的方式不同。在教堂礼拜中,你站起来唱歌可能不会得到掌声。但这并不意味着观众不喜欢你:他们的注意力集中在你表演中传达的信息上,而不是表演本身。
As you enter the stage from a doorway or wing, look at the audience and smile. You appear far more confident if you look straight at your audience as you walk across the stage. Practicing this is important. Your smile needs to look genuine even if you’re nervous and don’t want to be onstage. When you reach your position on the stage, pause in place to bow. Other performing venues may require you to be a bit more subdued. Singing for a church service, for example, requires a different approach than singing at a pop concert. For a church service, you may not get applause as you stand up to sing. It doesn’t mean that the audience doesn’t like you: Their focus is on your message in your performance instead of on the performance itself.
入场前,要做好心理准备。你需要保持充沛的精力,这样才能以合适的步调入场。如果你对入场感到畏惧,你可能会走得很慢,看起来甚至不敢唱歌。即使你很紧张,也要自信地入场。你不必跑着入场,但要以能展现你渴望表演的步调来入场。
Before you make your entrance, be mentally prepared. You want your energy level to be up so you can pace your entrance just right. If you’re dreading your entrance, you may walk slowly and appear petrified to sing. Even if you’re nervous, make your entrance with confidence. You don’t have to run, but walk at a pace that shows you’re eager to perform.
在音乐会上演唱时,要懂得是要与观众沟通,还是要沉浸于自己的小世界,这很棘手。你不可能总是在私密的场合演唱私密的歌曲,但你可以在脑海中想象自己身处私密的场合,在脑海中构建一面第四面墙:假设你独自一人待在一个房间里,观众面前有一堵墙。如果你的歌曲是面向一群人的,那么在歌曲的时间段内,让观众成为你故事的一部分。
When singing in a concert, knowing whether to acknowledge your audience or stick to your own little world is tricky. You can’t always sing intimate songs in an intimate locale, but you can imagine being in an intimate locale by creating a fourth wall in your mind: Pretend to be in a room alone, with a wall in front of the audience. If your song addresses a group, make the audience part of your story within the time period of the song.
要想了解是否应该让观众参与到你的歌曲中,可以观察经验丰富的专业人士的表演。流行音乐会的轻松氛围与古典音乐会的正式氛围截然不同。了解你的观众,并举止得体。如有疑问,可以观察在你之前表演的歌手。在公园里的儿童音乐会上,向你的姐妹挥手也许没问题,但在大型音乐厅里与交响乐团一起演唱时,这样做就不合适了。“入乡随俗”……
To get a feel for whether to include the audience as part of your song, watch the seasoned pros. The casual atmosphere at a pop concert is different from the more formal atmosphere of a classical performance. Know your audience and behave appropriately. When in doubt, watch the singers who perform before you. Waving to your sister may be just fine at the children’s concert in the park, but it isn’t okay when you’re singing with the symphony in a big concert hall. When in Rome …
电视表演可能有观众,也可能没有。如果有观众,你可以与他们交流,让摄像机根据你的需要调整。否则,你就得假装摄像机就是你的观众。导演会告诉你哪个摄像机正在录制,并告诉你何时调整焦距。要唱好歌、讲好故事、与假想观众沟通,并根据提示切换到下一个摄像机角度,这很不容易。
Televised performances may or may not have an audience. If you have an audience, you can communicate with them and let the cameras adjust to you. Otherwise, you have to pretend the camera is your audience. The director will tell you which camera is recording and tell you when to adjust your focus. It’s tricky to sing well, tell your story, communicate with your imaginary audience, and move on cue to the next camera angle.
在普通的音乐会上,人们会咳嗽、迟到,或者在你演唱到一半时离开。观众不会考虑这会分散表演者的注意力。在家练习时,你可以故意制造一些避免分心。唱歌时,请朋友放下书本或走进房间,这样即使他们跳来跳去,你也能练习集中注意力。演出时,哪些因素可能会分散你的注意力?
In a normal concert, people cough, enter late, or leave right in the middle of your song. People in the audience don’t think about how it distracts the performer. When you practice at home, you may want to intentionally stage some distractions. Ask a friend to drop a book or walk into the room as you’re singing, so you can practice concentrating even while they’re bopping around. What may distract you at the performance?
双手放在身体两侧是最安全的。对他们来说,这或许不是最有趣的位置,但保持冷静和静止总不会错。如果你选择做手势,一定要完整地做,并确保肘部向外移动,远离身体。如果你只动手而不动手臂,你可能会看起来像在翻汉堡。当然,如果你使用的是手持麦克风,你的手势也需要与之相适应。(有关使用麦克风的更多信息,请参阅下一节。)
Keeping your hands at your sides is safest. It may not be the most interesting place for them, but you won’t go too wrong by erring on the side of calm and still. If you choose to gesture, make it a complete gesture and make sure that your elbows move out, away from your body. You may look like you’re flipping burgers if you move just your hands and not your arms. Of course, if you’re using a handheld microphone, your gestures need to accommodate it. (See the next section for more info about using a mic.)
另一种摆放双手的方式是将双手在身前紧握。紧握双手在腰际很酷,但搓揉双手就不好了。在表演时感到紧张是可以的,但尽量不要表现出来。俗话说,别让他们看到你汗流浃背。假装表演是世界上最轻松的事情。如果钢琴离你足够近,并且琴盖是关着的,你的手也可以放在钢琴上。如果小型三角钢琴或三角钢琴的琴盖是打开的,不要把手放在琴盖上或琴盖里面:观众看到你的手正好放在琴盖可能掉落的位置,会感到紧张。你也可以阅读第18章,了解一些关于手势的建议。
Another option for your hands is to clasp them in front of you. Clasping your hands at your waistline is cool, but wringing your hands isn’t. Being nervous at a performance is okay, but try not to show it. Don’t let ’em see you sweat, as they say. Pretend that performing is the easiest thing in the world. Your hands can also rest on the piano, if it’s near enough to you and if the lid is closed. If the lid is open on a baby grand or grand piano, don’t put your hand on the lid or inside the lid: It makes your audience nervous to see your hand right where the lid may fall. You can also check out Chapter 18 for some suggestions on gesturing.
麦克风(简称mics;发音类似于Mike)可以固定在支架上、手持、放置在地板上或挂在身上。掌握如何使用这套电子魔法需要一些练习。在乐器开始演奏之前,可以询问是否可以练习使用麦克风。这样,你就能听出距离太近和太远的区别。请考虑以下列出的麦克风,并了解你将如何使用特定类型的麦克风:
Microphones (mics, for short; pronounced like the name Mike) can be secured on a stand, held by hand, set on the floor, or hooked onto your body. Knowing how to handle this bundle of electronic wizardry takes a little practice. Ask if you can practice with the mic before the instruments start playing. That way, you can hear the difference between too close and too far. Consider the following list of microphones and how you’re going to work with the particular type you’ll be using:
将手放在麦克风上,但不要放在头部。表演者喜欢用手罩住麦克风。用手罩住麦克风头会彻底改变你声音的放大方式。注意当你把手放在麦克风头上并遮住部分头部时,麦克风里你的声音,然后比较一下不遮住头部时的声音。你可以和音响师谈谈声音的差异以及你的表演需要什么。你可能需要解释一下你想用罩住麦克风,并且需要帮助将声音放大到观众耳中。
你在电视上看到的那个史诗级的掉麦克风动作可能看起来很酷,但要抵制住真的掉麦克风的诱惑。掉落会损坏昂贵的麦克风,而且声音会非常大。
Place your hand on the mic but away from the head. Performers like to cup the mic. Placing your hand around the head of the mic totally changes the way your voice is amplified. Note the sound of your voice in the mic when you put your hand on the head and cover part of the head, and then compare the sound when you don’t. You can talk to the sound engineer about the differences in the sound and what you need for your performance. You may have to explain that you want to cup the mic and that you need help to get the sound amplified to the audience.
That epic mic drop gesture you saw on TV might seem cool, but resist that temptation of actually dropping a mic. The drop will damage the expensive mic, and it will be painfully loud.
如果您不使用麦克风唱歌,请利用第 7 章中学到的共振知识来帮助您的声音传递到乐器中。
If you don’t sing with a microphone, use your knowledge of resonance from Chapter 7 to help your voice carry over the instruments.
鞠躬的方式取决于音乐会。如果你是一位著名的歌剧女主角,你可以行屈膝礼,但我认为最好等到你到达大型歌剧院后再行。在那之前,请使用久经考验的标准鞠躬方式:从腰部弯曲,向观众低头。
The manner in which you take your bow depends on the concert. If you’re a famous diva, you may curtsy, but I think it’s better to wait on that until you arrive at one of the big opera houses. Until then, use the tried-and-true standard bow: Bend from the waist and bow your head to the audience.
退场也是一门艺术。唱完谢幕后,走向出口。退场时,再次看着你的观众,并微笑。如果观众非常喜欢他们听到的内容,他们可能会继续鼓掌,这样你就可以再次谢幕。等到掌声达到顶峰,再回到舞台上。如果你有伴奏者为你演奏,请伴奏者再次与你一起鞠躬,或者在下次谢幕时与你一起鞠躬。
Exiting the stage is also an art. When you finish singing and take your bow, head toward the exit. Look at your audience again and smile as you exit the stage. If the audience just loved what they heard, they may continue clapping, so you can take another bow. Wait for the peak of the applause and then go back onto the stage. If you had an accompanist playing for you, ask the accompanist to bow with you again or bow with you at the next curtain call.
根据具体情况,你可能需要准备返场表演。你怎么知道什么时候该返场?唱完最后一首歌,听到掌声后退场;回到舞台鞠躬致谢,再次退场;然后回到舞台上演唱返场表演;或者再次鞠躬致谢,然后再次退场演唱返场表演。返场表演适合于你作为主角的独奏会,或者适合于乐队或交响乐团等团体的演出。当你表演得更多时,你就会明白什么时候返场合适,以及需要为返场表演做些什么准备。
Depending on the situation, you may want to prepare an encore. How will you know when to sing the encore? Finish your last number, hear the applause, and exit the stage; return to the stage for your bow and exit the stage again; and return to the stage and sing the encore, or return for another bow and then come back out to sing the encore. An encore is appropriate for a recital where you are the main attraction or for a performance with a group such as a band or symphony. When you do more performing, you’ll figure out when an encore is appropriate and what to prepare for the encore.
第 6 部分
Part 6
在本部分中……
IN THIS PART …
www.dummies.com/go/singingfd3e。www.dummies.com/go/singingfd3e.附录A
Appendix A
这份推荐歌曲列表旨在提升您的歌唱技巧。在练习本书中的练习和技巧时,您可以使用这份歌曲列表来运用您的新技能。您可以轻松找到您喜爱的歌手的歌曲,但选择合适的歌曲来帮助您提高技巧则更为困难。本附录中的歌曲列表提供了一些有助于您提高技巧的歌曲,无论您是初学者还是经验丰富的歌手。
This list of suggested songs is designed to advance your singing technique. As you practice the exercises and techniques in the book, you can use this list of songs to apply your new skills. You can easily find a song you love from your favorite singer, but choosing the right song to help you develop your technique is more difficult. The lists in this appendix offer songs that help you develop your technical skills, no if matter you’re a beginner or have a little more experience.
你或许并非熟知所有这些歌曲,但它们都包含特定的课程,可以用来挑战和拓展你的演唱技巧。当你精进技巧后,就可以将其运用到任何你喜欢唱的歌曲中。大多数电子乐谱都提供多种调性,因此你可以选择自己喜欢的歌曲,并找到最适合你嗓音的调性。如果你喜欢这首歌,还可以搜索其他曲目来辅助练习。
You may not know all these songs, but they all have specific lessons that you can use to challenge and expand your technical skill. After you refine the skill, you can apply it to any song that you love to sing. Most digital sheet music comes in multiple keys so you can choose the song you love and find it in the perfect key for your voice. If you love the song, you can search for tracks to help you while you practice.
当你考虑歌曲时,请记住以下几点:
As you consider songs, keep the following in mind:
中级歌曲节奏难度更高,音域更宽,旋律跳跃音程更长。声乐部分与钢琴伴奏略有不同,节奏也更快。
腰带歌曲通常难度更高,因为技巧要求高、故事情节宏大、音乐难度较高。请按照第13章的练习,直到你对自己的腰带感到满意为止。
An intermediate song has more difficult rhythm, wider range, and melody that skips in larger intervals. The vocal line is somewhat independent of the piano accompaniment and moves at a faster pace.
Belt songs are typically much more difficult because of technique demands, big stories to tell, and difficult music. Work with the exercises in Chapter 13 until you feel confident that your belt is healthy.
你可能想回顾一下第16章中关于选择音乐以及如何找到适合你嗓音的完美调性的信息。所有这些歌曲都可以在该章提到的在线网站上找到电子乐谱。
You may want to review the information in Chapter 16 on selecting music and finding the perfect key for your voice. All these songs are available as digital sheet music at the online sites mentioned in that chapter.
有些歌单是针对特定性别的,而有些歌单则涵盖任意性别。如果你在异性歌单上找到一首你喜欢的歌曲,那就唱吧。技术经验可能会因你的性别和嗓音类型而异,但本书中有很多技巧可以让你用来探索任何歌曲。
Some song lists are for a specific gender and other lists say either gender. If you find a song on the opposite gender list and you like it, then sing it. The technical experience may be different based on your gender and voice type, but there are plenty of technical skills in the book that you can use to explore any song.
这些歌曲非常适合初学唱歌的人探索。歌曲的音域适合初学者,适合任何声型或性别。在探索章节的过程中,你可以运用这些歌曲来练习一些技巧,例如呼吸协调(第 4 章)以及唱歌时注意身体的平衡(第 3 章):
These songs are great for a first song to explore. The range is good for a beginner and the songs are appropriate for any voice type or gender. Use these songs as you explore the chapters to apply technical skills such as breath coordination (Chapter 4) and monitoring your alignment while you sing (Chapter 3):
这些歌单中的歌曲介于初学者和中级之间(因为有一些音程)。这些歌曲按风格划分,音域应该适合任何声部类型或性别。如果您购买了歌曲的数字版,可以使用网站功能探索不同的调,找到最适合您声音的调。您可以使用这些歌曲来探索您在章节中读到的任何技术技巧,但它们也可以专门用于帮助您探索音色(第 6 章)和共鸣(第 7 章)。对于任何新的选择,您可以从第 17 章获得一些帮助,以便快速完成一首歌曲。
The songs in these lists are somewhere in between beginner and intermediate (because of a few intervals). These songs are divided by style and the range should be fine for any voice type or gender. If you purchase a digital copy of the song, use the website features to explore different keys to find just the right fit for your voice. Use these songs for exploring any of the technical skills you read about in the chapters, but you can use them to specifically help with exploring tone (Chapter 6) and resonance (Chapter 7). For any new selection, you can get some help from Chapter 17 to get a song down in no time.
以下是一些适合中级歌手的优秀音乐剧歌曲:
Here are some great musical theater songs for intermediate singers:
以下是一些中级流行摇滚歌曲:
Here are some intermediate pop-rock songs:
以下是五首中级乡村歌曲:
The following are five intermediate country songs:
欣赏五首中级古典歌曲:
Check out the five intermediate classical songs:
以下歌单包含各种风格的歌曲,可帮助您练习技巧,例如发音、灵活性、大音程管理、呼吸协调和连奏。这些歌曲适合任何嗓音类型或性别。请参阅第8章了解如何塑造元音,第9章了解如何发音辅音;第12章了解如何提高灵活性;第11章了解如何探索和识别音域;第12章了解如何在音域之间转换以演唱大音程;第4章了解如何控制呼吸和演唱长乐句。
The following lists are full of songs in different styles to help you practice technical skills like articulation, agility, larger intervals management, breath coordination, and legato phrasing. The songs are for any voice type or gender. See Chapter 8 for help shaping vowels and Chapter 9 for help with articulation of consonants; Chapter 12 for help with agility; Chapter 11 for exploring and recognizing registers; Chapter 12 for help with transitions between registers to sing larger intervals; and Chapter 4 for help with breath control and singing long phrases.
这里有十首歌曲可以练习发音和敏捷性:
Here are ten songs to practice articulation and agility:
考虑一下这些歌曲来练习平滑你的音域转换:
Consider these songs to practice smoothing your register transitions:
这十首歌曲可以帮助你练习呼吸协调和连奏乐句:
These ten songs can help you work on your breath coordination and legato phrases:
本节中的歌曲涵盖不同风格,旨在帮助你练习音域和音域。第11章主要讲解人声的音域,第12章则帮助你练习音域间的转换和拓展音域。由于大多数初学唱歌的人更习惯于演唱音域较低的部分,因此我列出了一些音域不太高的歌曲,供你入门;之后,当你准备好展翅高飞,飞向头声领域时,我会提供一些音域稍高的歌曲。
The songs in this section are from different styles and designed to help you work on registers and range. Chapter 11 is all about registers of the voice, and Chapter 12 helps you work on transitioning between registers and developing your range. Because most beginner singers are more comfortable singing lower in their range, I include lists of songs that don’t go very high to get you started and then offer a list of songs a bit higher when you’re ready to spread your wings and soar into head voice territory.
看看这些适合低音女声演唱的歌曲:
Check out these songs perfect for low female voices:
以下是一些适合男低音演唱的优秀歌曲:
Here are some great songs for low male voices:
如果你的嗓音较高,这些歌曲可以帮助你扩大音域:
These songs can help you expand your range if you have a higher voice:
如果你的声音较低,这些歌曲可以帮助你扩大音域:
These songs can help you expand your range if you have a lower voice:
这些列表中的歌曲可帮助您练习更高级的声音,例如混合、腰带和假声。您可以在第 13 章中找到有关腰带的大量信息。您还可以在第 11 章和第13 章中了解有关假声和混合的信息。由于混合和假声在男声和女声中的感觉不同,我将列表分为女性混合歌曲和男性假声和混合歌曲。这些歌曲来自不同的风格,可帮助您找到激发您练习的东西。歌曲标记为以头声为主的混合、腰带或假声,以帮助您了解要探索的声音。“混合或腰带”表示您可以选择要探索的声音,“混音到带音”是指歌曲通常以混音开始,然后随着故事的展开过渡到带音。欢迎您探索不同性别的歌曲,尽管技术探索可能有所不同。
The songs in these lists help you with more advanced sounds like mix, belt, and falsetto. You can find out loads of information about belt in Chapter 13. You can also find out about falsetto and mix in Chapters 11 and 13. Because mix and falsetto feel different in the male and female voice, I divide the lists into songs for female mix songs and songs for male falsetto and mix. The songs are from different styles to help you find something that inspires you to practice. The songs are marked head voice–dominated mix, belt, or falsetto to help you know what sounds to explore. “Mix or belt” means you can choose which sounds you want to explore, and “mix to belt” means the song is typically started in a mix and then transitions to belt as the story unfolds. You’re welcome to explore the songs for the opposite gender although the technical exploration may be different.
以下是一些适合女性的精彩混音歌曲:
Here are some great mix songs for females:
选择以下其中一首歌曲来练习男声假声并混音:
Select one of these songs to work on male falsetto and mix:
这些歌曲的音域各不相同。低段位歌曲需要自信的音高(或者有机会培养这种自信),最高可达B4(中央C以上),而高段位歌曲最高可达D5(中央C高一个八度多一点)。慢慢练习这些歌曲,并用头声练习,直到你的音高稳定。
These songs vary in range. The lower belt songs require a confident belt (or the opportunity to develop that confidence) up to B4, which is above Middle C, and the higher belt songs go up to D5, which is a little more than an octave above Middle C. Take your time with these songs and use your head voice until your belt sounds are solid.
这些歌曲可以帮助女低音唱到B4:
These songs can help a low female voice belt up to B4:
这些歌曲非常适合想要唱到 D5 的高音女声:
These songs are great for higher female voices wanting to belt up to D5:
附录 B
Appendix B
《唱歌入门》(第三版)中的所有音乐示例均可在 网站上找到www.dummies.com/go/singingfd3e。您可以找到 63 个练习来提高您的歌唱水平。在章节中,“播放此曲目”图标旁边,您可以找到每个曲目的解释和实用说明。
All the musical examples included in Singing For Dummies, 3rd Edition, appear online at www.dummies.com/go/singingfd3e. You can find 63 exercises to improve your singing. In the chapters, next to the “Play This” icon, you can find an explanation and helpful instructions for each of the tracks.
章节中的建议和说明添加了有用的信息,让您在跟着唱歌时享受聆听的乐趣。
The suggestions and instructions in the chapters add helpful information to go with your listening pleasure as you sing along.
每首曲目都以钢琴演奏页面上印制的旋律或乐段开始。钢琴演奏完毕后,你会听到一位歌手示范该乐段的声音。第一次练习时,先听歌手的演唱;然后在接下来的乐段中自己演唱。每个乐段都会用不同的调重复多次,这样你就可以练习扩展你的音域。在线曲目包含男声和女声歌手。你可以随意跟唱任何曲目。如果示范曲目是男声,请查看与该曲目对应章节的文字,了解如何让该模式适用于女声。
Each track begins with the piano playing the melody or musical pattern you see printed on the page. After the piano plays the pattern, you hear a singer demonstrate the sounds of the pattern. The first time through, listen to the singer; then sing by yourself during the following repetitions of the pattern. Each pattern is repeated several times in several different keys, so you can practice extending your range. The online tracks feature both male and female singers. Feel free to sing along with any of the tracks. If the demonstration is a male voice, look at the text in the chapter that corresponds with that track for tips on how to make the pattern work for a female voice.
听在线曲目时,你可能会注意到节奏型逐渐变难。你不必今天唱完所有曲目。你可以先练习前几首曲目,直到你能够熟练运用文本中的所有建议。当你真正进入状态时,再进行下一组练习。你也可以查看第十章,了解如何设计练习方案。跳过一些你已经掌握的信息始终是一个选择。如果你是一位经验丰富的高级歌手,你可以跳过后面章节中一些较难的节奏型。放手一搏!如果你发现自己在某些后期节奏型上遇到困难,可以回过头再练习一些早期节奏型。在线曲目旨在让你能够长时间地唱歌和练习。
As you listen to the online tracks, you may notice that the patterns gradually get harder. You don’t have to sing every track today. You can work on the first few tracks until you’re comfortable applying all the suggestions in the text. When you’re really cooking, move on to the next group of exercises. You can also check out Chapter 10 for help designing a practice routine. Skipping some of the information you already know is always an option. If you’re an advanced singer with some experience, you may want to skip to some of the harder patterns in the latter chapters. Go for it! If you find yourself struggling with some of the later patterns, back up and work on some of the earlier patterns a little longer. The online tracks are designed to keep you singing and practicing for quite some time.
找到在线曲目后,您可以使用音频播放器上的曲目跳过控制按钮在曲目之间切换。提示/回顾功能也是一种快进或快退功能,可让您快进特定曲目,以达到模式的正确重复。本章中的图表为您提供了每首曲目的精确时序。
After locating the online tracks, you can use the track skip control button on your audio player to move between tracks. The cue/review function is also a fast-forward or rewind feature, which allows you to fast-forward through a specific track to get to just the right repetition of the patterns. The chart in this chapter gives you the exact timing of each track.
|
追踪 Track |
(时间) (Time) |
图号 Figure Number |
模式描述 Pattern Description |
|---|---|---|---|
|
1 1 |
1:31 1:31 |
不适用 N/A |
《唱歌入门》(第三版) Introduction to Singing For Dummies, 3rd Edition |
|
2 2 |
1:13 1:13 |
唇舌颤音 Lip and tongue trills | |
|
3 3 |
0:38 0:38 |
不适用 N/A |
滑行球场(第五章) Sliding on pitch (Chapter 5) |
|
4 4 |
1:34 1:34 |
舌头和下巴的弹动 Bouncing the tongue and jaw | |
|
5 5 |
1:06 1:06 |
创建连奏线 Creating a legato line | |
|
6 6 |
1:02 1:02 |
颤动长而连奏的线条 Trilling a long, legato line | |
|
7 7 |
1:30 1:30 |
管理长短语 Managing long phrases | |
|
8 8 |
0:41 0:41 |
不适用 N/A |
直音与颤音(第六章) Straight tone and vibrato (Chapter 6) |
|
9 9 |
1:18 1:18 |
交替元音以形成精确的唇形 Alternating vowels for precise lip shapes | |
|
10 10 |
1:06 1:06 |
交替发元音时拱起舌头 Arching the tongue while alternating vowels | |
|
11 11 |
1:43 1:43 |
唱歌时使用音尖辅音 Singing tip consonants | |
|
12 12 |
1:30 1:30 |
唱歌时软腭辅音 Singing soft palate consonants | |
|
十三 13 |
1:24 1:24 |
唱歌时唇音 Singing lip consonants | |
|
14 14 |
1:00 1:00 |
组合辅音 Combining your consonants | |
|
15 15 |
1:09 1:09 |
把它拿下来 Taking it down | |
|
16 16 |
1:43 1:43 |
逐级下降 Descending by step | |
|
17 17 |
1:16 1:16 |
从中间滑过 Gliding through the middle | |
|
18 18 |
0:55 0:55 |
沿着中间声部的四个方向移动 Moving along the four in middle voice | |
|
19 19 |
1:18 1:18 |
唱第四首 Singing fourth | |
|
20 20 |
1:10 1:10 |
提高胸腔共鸣 Bringing up chest voice | |
|
21 21 |
1:17 1:17 |
使用闭元音 Working with closed vowels | |
|
22 22 |
1:06 1:06 |
头声旋转 Spinning out in head voice | |
|
23 23 |
0:17 0:17 |
不适用 N/A |
假声示范(第11章) Demonstration of falsetto (Chapter 11) |
|
24 24 |
0:50 0:50 |
检查你的假声 Checking out your falsetto | |
|
二十五 25 |
0:51 0:51 |
摆脱假声 Flipping out of falsetto | |
|
二十六 26 |
1:02 1:02 |
从假声中滑落 Gliding down out of falsetto | |
|
二十七 27 |
1:14 1:14 |
滑到假声 Sliding up to falsetto | |
|
二十八 28 |
1:23 1:23 |
平滑过渡 Smoothing the transitions | |
|
二十九 29 |
1:28 1:28 |
在胸腔共鸣中创建连奏线 Creating a legato line in and out of chest voice | |
|
三十 30 |
1:22 1:22 |
从中声到头声 Working from middle voice up to head voice | |
|
31 31 |
0:56 0:56 |
旋转 Spinning down | |
|
三十二 32 |
1:03 1:03 |
融入混合 Sliding into a mix | |
|
33 33 |
1:29 1:29 |
混合起来 Mixing it up | |
|
三十四 34 |
1:36 1:36 |
胸部和头部交替为主的混合 Alternating between chest and head dominated mix | |
|
三十五 35 |
1:24 1:24 |
断奏跳跃 Skipping around on staccato | |
|
三十六 36 |
1:18 1:18 |
口唱心和 Messa di voce | |
|
三十七 37 |
2:27 2:27 |
降序 Descending | |
|
三十八 38 |
1:15 1:15 |
在寄存器之间移动 Stepping between registers | |
|
三十九 39 |
1:04 1:04 |
五个音符的弹奏 Flexing on five notes | |
|
40 40 |
1:16 1:16 |
向上滑动刻度 Sliding up the scale | |
|
41 41 |
0:56 0:56 |
沿着尺度绊倒 Tripping along the scale | |
|
四十二 42 |
1:13 1:13 |
增添风味 Spicing it up | |
|
43 43 |
1:46 1:46 |
三分之一处弹跳 Bouncing on thirds | |
|
四十四 44 |
0:42 0:42 |
聆听流行乐曲 Checking out pop riffs | |
|
45 45 |
0:38 0:38 |
下行流行乐段 Descending pop riff | |
|
46 46 |
1:43 1:43 |
不适用 N/A |
钢琴和弦即兴演奏(第12章) Improvising with chords on the piano (Chapter 12) |
|
四十七 47 |
0:59 0:59 |
不适用 N/A |
用流行曲调即兴演奏(第12章) Improvising with a pop tune (Chapter 12) |
|
四十八 48 |
0:49 0:49 |
不适用 N/A |
自己即兴创作流行曲调(第12章) Improvising by yourself on a pop tune (Chapter 12) |
|
49 49 |
0:53 0:53 |
不适用 N/A |
大声说出真相:还给我!(第13章) Speaking up the scale: Give That Back! (Chapter 13) |
|
50 50 |
0:21 0:21 |
不适用 N/A |
胸腔共鸣与腰带示范(第十三章) Demonstration of chest voice and belt (Chapter 13) |
|
51 51 |
0:15 0:15 |
不适用 N/A |
男性腰带示范(第13章) Male belting demonstration (Chapter 13) |
|
52 52 |
0:58 0:58 |
不适用 N/A |
混搭说话:我想知道!(第13章) Speaking in a mix: I Wanna Know! (Chapter 13) |
|
53 53 |
0:26 0:26 |
不适用 N/A |
高能量说话声音(第13章) High-energy speaking sounds (Chapter 13) |
|
54 54 |
0:29 0:29 |
不适用 N/A |
三种共振类型:后共振、中共振、前共振(第 13 章) Three types of resonance: Back, middle, and front (Chapter 13) |
|
55 55 |
0:39 0:39 |
不适用 N/A |
喵喵喵(第 13 章) Nya Nya Nya (Chapter 13) |
|
56 56 |
0:55 0:55 |
“那不是它” “That Ain’t It Man” | |
|
57 57 |
035 035 |
现在不要 Not Now | |
|
58 58 |
0:35 0:35 |
不适用 N/A |
“躲起来,我是个贝尔特人”(第13章) “Take Shelter, I’m a Belter” (Chapter 13) |
|
59 59 |
1:06 1:06 |
这是我的!这是我的! That’s mine! That’s mine! | |
|
60 60 |
0:39 0:39 |
不适用 N/A |
“让我们庆祝吧”(第13章) “Let’s Celebrate” (Chapter 13) |
|
61 61 |
1:13 1:13 |
通过“简单的事情”的节奏说话(第17章) Speaking through the rhythms of “Simple Things” (Chapter 17) | |
|
62 62 |
1:18 1:18 |
在h上唱着《简单的事情》的旋律 Singing the melody of “Simple Things” on ah | |
|
63 63 |
2:27 2:27 |
《简单的事情》作者:玛莎·沙利文 © 2003 “Simple Things” by Martha Sullivan © 2003 |
如果您在使用在线曲目时遇到问题,请致电 Wiley 产品技术支持电话 800-762-2974。美国境外请拨打 317-572-3994。您也可以通过 联系 Wiley 产品技术支持www.wiley.com/techsupport。Wiley 仅提供安装和其他常规质量控制项目的技术支持。有关应用程序本身的技术支持,请咨询程序供应商或作者。
If you have trouble with the online tracks, please call the Wiley Product Technical Support phone number at 800-762-2974. Outside the United States, call 317-572-3994. You can also contact Wiley Product Technical Support at www.wiley.com/techsupport. Wiley will provide technical support only for installation and other general quality control items. For technical support on the applications themselves, consult the program’s vendor or author.
如需下更多订单或索取有关其他 Wiley 产品的信息,请致电 877-762-2974。
To place additional orders or to request information about other Wiley products, please call 877-762-2974.
帕米莉亚·S·菲利普斯博士从事声乐教学已逾35年。她的客户涵盖从初学者到百老汇音乐剧演员的广泛人群,其中一些人甚至获得了格莱美奖、托尼奖和奥斯卡奖。她帮助歌手准备各种类型的音乐作品,涵盖音乐剧、古典、爵士、乡村、流行和摇滚等。
Dr. Pamelia S. Phillips has been teaching singing for more than 35 years. Her clients range from beginners to musical theater performers on Broadway, some of whom have gone on to be Grammy, Tony, and Academy Award winners. She helps singers prepare musically diverse material from musical theater, classical, jazz, country, pop, and rock.
她拥有亚利桑那州立大学音乐艺术博士和声乐表演硕士学位,以及阿肯色州立大学音乐教育学士学位。她的演出范围广泛,从当代美国歌剧首演到交响乐客座演出,不一而足。
She earned her Doctorate of Musical Arts and Master of Music in Vocal Performance from Arizona State University and a Bachelor of Music Education from Arkansas State University. Her performances range from contemporary American Opera premieres to guest performances with symphonies.
演出包括《卡门》、《卡门悲剧》、《狄多与埃涅阿斯》和《汉塞尔与格莱特》中的主角、《女巫汉塞尔与格莱特》中的女巫、 《霍夫曼故事集》中的朱丽叶塔、《女人心》中的多拉贝拉、《阿尔伯特·赫林》中的妈妈、 《屈尊降贵》世界首演中的康斯坦丝、 《摩洛哥明信片》中的带帽盒的女士、《朵拉》中的鲍尔夫人、 《神秘花园》舞台首演中的贝阿特丽斯、《托伯莫里》中的科内特夫人、《弗吉尼亚·伍尔夫日记》舞台表演、 《塞维利亚的理发师》中的贝尔塔、 《弄臣》中的玛达莲娜、 《乡村骑士》中的露西亚妈妈、 《萨特阔》中的柳巴娃、《狄多与埃涅阿斯》中的幽灵、《来自派克的甜美贝琪》中的叙述者、 《觉醒》中的埃德娜、 《诅咒》中的格洛丽亚·索普洋基队、《滑稽戏闹剧》中的体育馆队、《小夜曲》中的爱歌歌手、《国王与我》中的蒂昂夫人和《音乐之人》中的希克斯夫人。
Performances include title roles in Carmen, Tragedy of Carmen, Dido and Aeneas, and Lizzie Borden, the Witch in Hansel and Gretel, Giulietta in Tales of Hoffmann, Dorabella in Così fan tutte, Mum in Albert Herring, Constance in the world premiere of She Stoops to Conquer, Lady with a Hat Box in Postcard from Morocco, Frau Bauer in Dora, Beatrice in the stage premiere of Garden of Mystery, Mrs. Cornett in Tobermory, staged performance of From The Diary of Virginia Woolf, Berta in The Barber of Seville, Maddalena in Rigoletto, Mamma Lucia in Cavalleria Rusticana, Liubava in Sadko, Spirit in Dido and Aeneas, Narrator in Sweet Betsy From Pike, Edna in The Awakening, Gloria Thorpe in Damn Yankees, Gymnasia in A Funny Thing Happened on The Way to The Forum, Liebeslieder singer in A Little Night Music, Lady Thiang in King and I, and Mrs. Hicks in The Music Man.
交响乐表演包括与布朗克斯交响乐团合作演奏柏辽兹的《克莉奥帕特拉之死》 、与中央交响乐团合作演奏马勒的《第四交响曲》 、与纽约交响艺术团合作演奏《大地之歌》和马勒的《第三交响曲》,并作为客座艺术家与国家合唱团、菲尼克斯室内交响乐团、斯科茨代尔美术管弦乐团、普特南县合唱团、卡茨基尔合唱团、三角洲交响乐团、市中心交响乐团、美国室内歌剧公司、史坦顿岛交响乐团、布鲁克林高地管弦乐团、太阳交响乐团、山谷交响乐团、南山社区管弦乐团、皇后歌剧公司、东北阿肯色州全国声乐教师协会、洛克黑文大学和里贾纳歌剧公司合作。帕姆曾在阿肯色州的罗斯伍德联合卫理公会教堂、亚利桑那州的圣保罗圣公会教堂、第一卫理公会教堂和圣巴拿巴教堂担任独唱演员 15 年。
Symphonic performances include Berlioz’ Le mort de Cléopâtra with the Bronx Symphony, Mahler's Fourth Symphony with the Centré Symphony, Das Lied von der Erde and Mahler’s Third Symphony with the New York Symphonic Arts Ensemble and guest artist with National Chorale, Phoenix Chamber Symphony, Scottsdale Fine Arts Orchestra, Putnam County Chorale, Catskill Choral Society, Delta Symphony, Downtown Symphony, American Chamber Opera Company, Staten Island Symphony, Brooklyn Heights Orchestra, Sun Symphony Concert Band, Valley Symphony Orchestra, South Mountain Community Orchestra, Queens Opera Company, North East Arkansas National Association of Teachers of Singing, Lock Haven University, and Regina Opera Company. Pam was a soloist for 15 years with Rosewood United Methodist Church in Arkansas and St. Paul’s Episcopal Church, First Methodist Church, and Saint Barnabas churches in Arizona.
她曾在MTB(MusicTheaterBavaria.org)、CAP21/纽约大学、李·斯特拉斯伯格戏剧电影学院/纽约大学、大西洋表演学院/纽约大学、瓦格纳学院、亚利桑那州立大学、斯科茨代尔社区学院和南山社区学院任教。她为高中生、大学美术学士课程和专业培训课程设计课程,在中国北京举办的中国音乐剧制作与教育国际论坛上发表演讲,为CAP21的学生和教师开设关于嗓音健康和说话声音健康的工作坊,以及在芝加哥国家表演艺术学院举办关于高声演唱的工作坊,并担任阿肯色州立大学美术学院毕业典礼的主讲嘉宾。
She has taught at MTB (MusicTheaterBavaria.org), CAP21/NYU, Lee Strasberg Theatre and Film Institute/NYU, Atlantic Acting School/NYU, Wagner College, Arizona State University, Scottsdale Community College, and South Mountain Community College. She has designed curriculum for high school students, college BFA programs, and professional training programs, presented at the International Forum for Chinese Musical Production and Education in Beijing, China, taught workshops for CAP21 students and faculty on vocal health and the health of the speaking voice, and Chicago NATS on belting, and was the graduation speaker for the College of Fine Arts at Arkansas State University.
更多信息请见www.PamPhillips.com。
Find more information at www.PamPhillips.com.
她还是《傻瓜唱歌练习》一书的作者,以及《傻瓜摇滚音乐练习》(John Wiley & Sons, Inc.)一书的合著者。
She also is the author of Singing Exercises For Dummies and the coauthor of Rockmusic Machen Für Dummies (John Wiley & Sons, Inc.).
谨以此书献给我的父亲,霍姆斯·菲利普斯。我小时候,爸爸买了一台录音机——在那个年代并不常见——用来记录我们一起唱歌、玩假装游戏的珍贵回忆。录音里回荡着爸爸的声音,鼓励我们唱歌,或者演奏我们最新的钢琴曲。我爸爸的耳朵经受住了两个小女孩练习钢琴课的考验,其中一个小女孩后来也上了声乐课。爸爸,谢谢你忍受了所有的噪音。你教会了我为什么唱歌;唱歌很有趣。我从小就听着爸爸在车库里或房子周围干活时唱歌——他只是为了好玩而大声唱歌。我永远感激,在我的记忆中,我仍然能听到你尽情歌唱的声音,享受着唱歌的乐趣。当我沉浸在我们唱歌的方式中时,我会想起你,想起我们为什么唱歌。爸爸,如果你听听这些歌,你就会知道哪个歌手是你的孩子,因为你在我成长的过程中,以及假期回家时,都听过我练习唱歌,记住下一个角色。谢谢你做出的牺牲,也谢谢你教会我唱歌的乐趣。
I dedicate this edition to my father, Holmes Phillips. When I was a tiny tot, my dad bought a tape recorder — not common in those days — and captured priceless memories of us singing and playing make believe. Dad’s voice is on the recordings encouraging us to sing a song or perform our latest piano piece. My dad’s ears survived two little girls practicing for piano lessons and one of those little girls later taking voice lessons. Thanks for tolerating all that noise, Dad. You taught me why we sing; it’s fun. I grew up hearing dad singing as he worked in the garage or around the house — just singing at the top of his lungs for the fun of it. I’m forever grateful that I can still hear your voice in my memory singing full out, enjoying making sounds just because. When I get caught up in how we sing, I think of you and remember why we sing. If you listen to the tracks, Dad, you’ll know which singer is your kid because you listened to me practicing my singing exercises as I was growing up and when I came home for holidays and was memorizing the next role. Thanks for the sacrifices you made and for teaching me the joy of singing.
我衷心感谢编辑Chad Sievers对细节的关注,以及执行编辑Steve Hayes给予我创作第三版的机会。感谢Natasha Graf对我以及我创作本书能力的信任。感谢我之前的技术编辑Margaret J. Ball博士和David Kelso(卒于2021年)对所有术语的筛选。
I gratefully acknowledge editor Chad Sievers for his attention to detail and executive editor Steve Hayes for the opportunity to create a third edition. Thank you to Natasha Graf for believing in me and my ability to create this book. Thank you to my previous technical editors, Dr. Margaret J. Ball and David Kelso (d. 2021) for sifting through all of the terminology.
感谢我的父母,霍姆斯和达琳,感谢你们支付我的所有课程费用、花时间听我练习,以及驱车数英里来参加我的音乐会。
Thank you to my parents, Holmes and Darlene, for all the lessons you paid for, the hours you had to listen to me practice, and the many miles you drove to attend my concerts.
感谢我的丈夫乔治,感谢他的鼓励以及忍受我花在写作上的所有深夜和周末。
Thank you to my husband, George, for your encouragement and for tolerating all the late nights and weekends I spent writing.
永远感谢我的学生(以及几位同事),他们在这张CD上演唱得如此优美,也感谢我的学生和同事们给予的建议和支持。你们激励着我。在线曲目的演唱者包括Rachel Anton、Margaret J. Ball博士、Suzanna Neeley Bridges、Jared T. Carey、Michal Chorny、Maria Couch、Rachael Ferrera、Natasha Graf、Robert Hunt、Marshall Keating、David Kelso、Eric Noone、Skie Ocasio、Pam Phillips、Jacob Samuels、Jeffrey Sheets、Martha Sullivan和Jessica Wagner。
Eternal thanks to my students (and a few colleagues) who sang so beautifully on the CD and to my students and colleagues who offered advice and support. You inspire me. Singers on the online tracks include Rachel Anton, Dr. Margaret J. Ball, Suzanna Neeley Bridges, Jared T. Carey, Michal Chorny, Maria Couch, Rachael Ferrera, Natasha Graf, Robert Hunt, Marshall Keating, David Kelso, Eric Noone, Skie Ocasio, Pam Phillips, Jacob Samuels, Jeffrey Sheets, Martha Sullivan, and Jessica Wagner
最后,特别感谢我的声乐老师 Julia Lansford、Jerry Doan、Norma Newton 和 Judith Natalucci。
And finally a special thanks to my voice teachers, Julia Lansford, Jerry Doan, Norma Newton, and Judith Natalucci.
在线曲目的歌手: Rachel Anton、Margaret Ball、Suzanna Neeley Bridges、Jared T. Carey、Michal Chorny、Maria Couch、Rachael Ferrera、Natasha Graf、Robert Hunt、Marshall Keating、David Kelso、Eric Noone、Skie Ocasio、Jacob Samuels、Jeffrey Sheets、Martha Sullivan、Jessica Wagner 和 Pam Phillips
Singers on the online tracks: Rachel Anton, Margaret Ball, Suzanna Neeley Bridges, Jared T. Carey, Michal Chorny, Maria Couch, Rachael Ferrera, Natasha Graf, Robert Hunt, Marshall Keating, David Kelso, Eric Noone, Skie Ocasio, Jacob Samuels, Jeffrey Sheets, Martha Sullivan, Jessica Wagner, and Pam Phillips
钢琴家: Brian Suits 和 Marshall Keating
Pianists: Brian Suits and Marshall Keating
音响工程师:纽约 Yellow Sound Lab 的 Matthias Winter 和 Brian Suits
Sound Engineers: Matthias Winter at Yellow Sound Lab, NYC, and Brian Suits
出版商致谢
Publisher’s Acknowledgments
执行编辑:史蒂夫·海耶斯
Executive Editor: Steve Hayes
项目经理兼编辑: Chad R. Sievers
Project Manager and Editor: Chad R. Sievers
制作编辑:穆罕默德·扎法尔·阿里
Production Editor: Mohammed Zafar Ali
封面图片:© Jose Luis Pelaez Inc/Getty Images
Cover Image: © Jose Luis Pelaez Inc/Getty Images
请访问www.wiley.com/go/eula访问 Wiley 的电子书 EULA。
Go to www.wiley.com/go/eula to access Wiley’s ebook EULA.